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o\ \ 


NIBLO’S 


THE 



A PRACTICAL GUIDE TO THE STUDY OF 

CHEIROGNOMY AND CHEIROMANCY 


ADAPTED PROM 


THE WORKS OF THE WORLD’S 


MOST RENOWNED PALMISTS 


\\ 

ILLUSTRATED MATH 


TWENTY FULL-PAGE DRAWINGS 


Air / 1 
11 



NEW YORK 

A. MACKEL AND COMPANY, Publishers 

1900 

A 





44554 


ressj 

WED 


Library of Corn* 

t wo Cows Received 

SEP 7 1900 

imiry 

Wfoe 

Mo. .v?: s 

S£C0R0 COPY. 

0<< w w« i to 

OftOCH OIVtStON, 

SEP 1 1 1900- 



6S681 

Copyright, 1900, by 
A. MACKEL AND COMPANY 












PREFACE. 


Man’s past history and future destiny are written upon the palm 
of his hand! 

Is this proposition to be accepted with implicit faith X 

I assert that it may. 

Of the Science of Palmistry, which is only a branch of Astrology, 
the origin may be said to date back almost to the creation of the 
world. 

Nevertheless, let us give here a short epitome of the history 
of palmistry, and occupy a brief space In, reviewing the principal 
phases through which this science has passed. 

I do not consider it worth while, at this late day, to trace back 
history beyond the times of the Egyptians and Chaldeans, and even 
in regard to them there is no direct information concerning the 
foundation of the system to which the wise priests of Isis adhered, 
as also did the meditative shepherds who are mentioned in the Holy 
Scriptures themselves. Nor do I deem it necessary to dwell upon 
the period known as the Middle Ages. The struggles of the human 
mind to attain the knowledge of the truth were then still crude 
and but partially successful; they did not produce their full result 
until the sixteenth century, when the fine Renaissance of the intel¬ 
lect took place which was the beginning of the modern era. 

During the Middle Ages palmistry was constantly studied and 
practised, but it was not until the sixteenth century that a work was 



1V 


Preface. 

V 

published presenting a comprehensive view of the whole subject. 
This work was complete in its developments, ingenious and rational 
in its deductions ; in a word, worthy to serve as the first monument 
to the science of palmistry as understood in those days. 

During the seventeenth century the taste for the study had al¬ 
ready become widespread; various treatises upon palmistry, written 
by men of eminent scientific attainments, made their appearance 
one after another. Of these authors I will mention only the names 
of Dr. Rothman and Dr. Saunders, whose works found a place in 
the most famous libraries. 

It was reserved for the present age to furnish palmistry with its 
elect apostles and a definite code—a code not based exclusively upon 
the mighty traditions of the past, nor upon the reflection and re¬ 
searches of ages gone. This code was also chiefly founded upon the 
discoveries of modern science and upon numberless experiments 
which were made again and again in the full light of publicity and 
frequently with the cooperation of distinguished supporters of 
absolute skepticism. 

The first of these men took issue directly with the ancient doc¬ 
trine. 

Palmistry, according to Captain d’Arpentigny—for such was the 
name of this distinguished man—may be reduced purely and simply 
to cheirognomy, or merely to the study of the two hands with respect 
to their general shape, the form of the fingers, the form of the pha¬ 
langes upon which grow the nails, and the greater or less develop¬ 
ment of the finger-joints. 

D’Arpentigny’s cheirognomy only presented one side of the great 
science of palmistry. For him the lines on the hand and their in¬ 
terpretation were a dead language ; the close and intimate tie which 
unites cheirognomy with cheiromancy eluded his observation ; never¬ 
theless, to d’Arpentigny belongs the glory of having first explained 


Preface. 


v 


the correlation between the form of the hand and man’s existence. 
This he did, not by the help of the imperfect dissertations of the 
ancients, but by the intrinsic laws of this physical and animal life 
of which we are the centre, and of which—though, alas, only to a 
limited extent—we are the masters and protectors. 

\\ hile we cannot insist too strongly upon the fact that Desbar- 
rolles has enlarged the domain traversed by d’Arpentigny as well as 
, perpetuated his doctrine, we must add that he has accepted in 
extenso the series of propositions laid down by the old soldier, 
Napoleon the First. 

I shall follow the line of argument traced by him and his prede¬ 
cessors. I shall also add to the labors of those who have gone 
before us many personal observations, and, above all, I shall en¬ 
deavor to classify all the elements to be investigated in such a 
manner that they may be easily and completely understood. 

In a word, I intend that every reader of The Complete Palmist 
may be able, after a few hours’ study, to find in it not only the 

4 

information he may desire concerning himself, but also that con¬ 
cerning the past, the present, and the future of all those who 
submit their hands to his inspection. 






TABLE OF CONTENTS. 


Preface. ::: 

CHEIROGNOMY. 

PAGE 

Section I.—The Shapes of the Hand . 1 

Sub-Section I.—Concerning the Hand in General and the 
Indications afforded by the Aspects and Conditions of 
its Various Parts in Particular. 3 

I. The Palm of the Hand. 4 

II. The Joints of the Fingers. 6 

III. The Comparative Length of the Fingers. 10 

IV. The Fingers Generally. 13 

V. The Finger Tips. 15 

VI. The Hairiness of the Hands. 20 

VII. The Color of the Hands. 21 

VIII. The Thumb. 22 

IX. The Consistency of the Hands. . 26 

X. The Aspect of the Hands. 20 

XI. The Ciieirognomy of the Individual Fingers. 31 

XII. The Habitual Actions and Natural Positions of the 

Hands. 36 

XIII. The Finger Nails. 38 

Sub-Section II.—The Seven Types of Hands, and Their Sev¬ 
eral Characteristics. 40 

I. The Elementary Hand. 41 

II. The Spatulate, or Active Hand. 43 

III. The Conical, or Artistic Hand. 48 

IV. The Square, or Useful Hand. 51 























PAGE 


viii Table of Contents. 

V 


V. The Knotty, or Philosophic Hand. 56 

VI. The Pointed, or Psychic Hand. 59 

VII. The Mixed Hand. 63 

Sub-Section III.—The Ciieirognomy of the Female Hand. 66 

CHEIROMANCY. 

Section II.—The Development and Lines of the Palm. 73 

Sub-Section I.—An Explanation of the Map of the Hand- 75 

Sub-Section II.—General Principles to be borne in Mind : 

I. As to the Mounts. 79 

II. As to the Lines.. 82 

Sub-Section III.—The Mounts of the Hands. 86 

I. The Mount of Jupiter..... 87 

II. The Mount of Saturn. 90 

III. Tile Mount of Apollo. 93 

IV. The Mount of Mercury. 96 

V. The Mount of Mars. 100 

VI. The Mount of the Moon. 103 

VII. The Mount of Venus. . 108 

Sub-Section IV.—The Lines of the Hand . Ill 

I. The Line of Life. 112 

II. The Line of Mars. 118 

III. The Line of Heart. 119 

IV. The Line of Head. 123 

V. The Line of Saturn, or Fortune. 130 

VI. Tile Line of Apollo, or Brilliancy. 135 

VII. The Line of Liver, or Health. 138 

4 

VIII. The Via Lasciva. 140 

IX. The Girdle of Venus. 141 

Sub-Section A".—The Signs in the Palm. 143 

I. The Star. 144 

II. The Square, the Spot, and the Circle. 146 

III. The Island and the Triangle. 148 































Table of Contents. 


IX 


PAGE 

IV. The Cross and the “ Croix Mystique”. 150 

V. The Grille. 152 

VI. The Sighs of the Planets. 154 

Sub-Section VI. —The Signs upon the Fingers. . 155 

I. Signs upon the First, or Index Finger. 15G 

II. Signs upon the Second, or Middle Finger. 157 

III. Signs upon the Third, or Ring Finger. 158 

IV. Signs upon the Fourth, or Little Finger. 159 

V. Signs upon the Thumb. 1G0 

• 

Sub-Section VII. —The Triangle, the Quadrangle, and the 
Rascette. 

I. The Triangle and the Quadrangle. 1G1 

The Upper Angle. 

The Inner Angle. 

The Lower Angle. 

II. The Rascette, or Three Bracelets. 165 

Sub-Section VIII. —Chance Lines. 167 

Sub-Section IX. —A Few Illustrative Types. 171 

Sub-Section X. —Modus Operandi . 175 

INDEX. 181 

























LIST OF ILLUSTRATIONS. 

PIjATE facing page 

I.—The Elementary Hand. 41 

II.—The Spatulate, or Active Hand. 43 

III. —The Conical, or Artistic IL^nd. 48 

IV. —The Square, or Useful Hand. 51 

V.—The Knotty, or Philosophic Hand. 56 

VI.—The Pointed, or Psychic Hand. 59 

VII.—The Map of the Hand. 75 

VIII.—Conditions of the Lines. 82 

Fig. 1. Spots upon a line. Fig. 6. Chained lines. 

“ 2. Sister lines. “ 7. Wavy lines. 

3. Forked terminations. “ 8. Broken lines. 

“ 4. Tasselled terminations. “ 9. Capillaried lines. 

“ 5. Ascending and descending 

branches. 

IX.—Signs Found in the Hand. 84 

Fig. 10. The Star. Fig. 14. The Island. 

“ 11. The Square. “ 15. The Triangle. 

“ 12. The Spot. “ 16. The Cross. 

“ 13. The Circle. “ 17. The Grille. 

X.—Lines upon the Mounts of the Palm. 98 

XI. —Ages upon the Lines of Life and of Fortune. 110 

XII. —Modifications of the Principal Lines. 112 

XIII. —Modifications of the Principal Lines. 114 

XIV. —Modifications of the Principal Lines. 116 

XV.—Modifications of the Principal Lines. 119 

XVI.—Modifications of the Principal Lines. 127 

XVII.—The Quadrangle and the Triangle. 136 

XVIII.—Chance Lines. 167 

XIX.—Chance Lines. 168 

XX.—Chance Lines. 170 






















Cbeirognom^. 


THE COMPLETE PALMIST. 


SECTION I. 


CIIEIROGNOMY ; OR, THE SHAPES OF THE HANDS. 


It is usual to divide the science of Cheirosophy into two principal 
sections : Clieirognomy, or the science of interpreting the characters 
and instincts of men from the outward formations and aspects of 
their hands ; and Cheiromancy, or the science of reading the charac¬ 
ters and instincts of men, their actions and habits, and the events 
of their past, present, and future lives, in the lines and formations of 
the palms of their hands. Though, as will be seen anon, the line 
of demarcation which has been drawn between these two branches 
of the science is not only false in principle but misleading in prac¬ 
tice [for, as will be seen in the following pages, the two sections are 
inextricably intermingled and cannot be separated if accuracy of 
result is aimed at], it is still convenient to preserve the semblance of- 
separation, so that the student may master the principle of clieirog- 
nomy before he begins to apply it to the interpretation and elucida¬ 
tion of the more intricate rules of cheiromancy, and for this reason 
the one great subject of cheirosophy has been divided into its two 
constituent and companion elements of clieirognomy and cheiro¬ 
mancy. 

Clieirognomy, therefore, is that branch of the science of the hand 
which enables us, by a mere superficial observation of the exterior 
formations and appearance of the hands, and by the impressions 


1. 

The two 
branches of 
Cheirosophy 


2 . 

Cheirog- 

nomv. 


Q 


The Complete Palmist. 


3. 

Cheirognomy 
and Cheiro¬ 
mancy. 


4. 

The divisions 
of Cheirog¬ 
nomy. 


produced by them on the senses of vision and of touch, to arrive at 
an accurate estimate of the character, disposition, and natural pro¬ 
pensities of any individual in whose presence we may find ourselves. 
It is of the highest importance that the student of cheirosophy should 
first master this very important branch ; for what is more obvious 
than that the character and tendency of the mind and the natural 
inclinations of the subject under examination should so materially 
influence his actions, manner, and speech, his physical and moral 
bases of life, and the events of his existence—that by getting at the 
former by the aspect of his hands, the knowledge of the latter follows 
almost of itself ? 

Again, it will be borne in mind that the cheirognomy of a subject 
—that is to say, the shape of his (or her) hands—is often hereditary 
and inborn, the physiological legacy of along line of ancestors, whose 
characters and peculiarities of mind he may possibly inherit, whilst 
the lines, signs, and mounts of the palm—that is to say, the cheiro¬ 
mancy of a subject—are more often the results of the external and 
internal influences, such as the astral and cerebro-nervous fluids. 

Cheirognomically speaking, hands are divided into seven classes 
or types, each of which will in due course receive careful attention. 
Firstly, however, it is necessary to consider the interpretation of the 
many general features of a hand which carry with them their own 
significations, to whatever type that hand may belong. 


SUB-SECTION I. 

CONCERNING THE HAND IN GENERAL AND THE INDICATIONS AFFORDED 
BY THE ASPECTS AND CONDITIONS OF ITS VARIOUS PARTS IN 
PARTICULAR. 

To whatever type a hand may belong, there are certain aspects 
and formations of its constituent parts which materially affect the 
tendencies indicated by the development of that particular type, 
and these asjjects and conditions must be carefully considered in the 
preliminary examination of that hand. Such are the developments 
and formations of the palm, the fingers, the joints, the thumb, the 
relative size and proportions of the whole hand and of its constituent 
parts—all of which matters must be observed carefully to arrive at 
the true influence of the developed, or mainly developed, type ; and 
to explain the indications which are read in these circumstances and 
conditions is the aim of the present sub-section. 


5. 

The Seven 
Types. 


CHAPTER I. 


6 . 

Its Indica¬ 
tions. 


7. 

Thin and 
narrow. 

8 . 

Well-propor¬ 

tioned. 


Over-devel¬ 

oped. 


Hardness. 


9. 

Hollow palm. 


The Palm of the Hand. 

In the first place, you will notice the formation and the physio¬ 
logical conditions of the palm. In it are found the physical attri¬ 
butes of the character and the intensity with which they are devel¬ 
oped. 

If the palm is thin, skinny, and narrow, it indicates timidity, a 
feeble mind, narrowness and paucity of intellect, and a want of depth 
of character, energy, and moral force. 

If, on the other hand, it is in perfect proportion with the fingers, 
the thumb, and the rest of the body, firm without being hard, 
elastic without approaching to flabbiness, the mind thereby indicated 
is evenly balanced, ready to accept impressions, appreciative, intel¬ 
ligent, and capable of sustaining and directing the promptings of 
the instinct. If, however, this last hand is too highly developed, 
and its proportions are too strongly accentuated, the exaggeration 
of these qualities tends to produce over-confidence, selfishness, and 
sensuality ; whilst if, going a step farther, the hand joins to these 
highly developed proportions a hardness and resistance to the touch, 
and the palm is longer than the fingers, the character tends towards 
brutality of instinct, and a low grade of intelligence is betrayed by 
the animality of the ideas. These last characteristics are those jpar 
excellence of the elementary type. 

A hollow, deep palm denotes almost invariably misfortune, loss 
of money, misery, and danger of failure in enterprise. This is 
caused by a defection of the Plain of Mars, and is a sign of ill-luck 
even when the rest of the hand is favorable. 


The Palm of the Hand. 5 

Tlie palm, therefore, must be absolutely normal, and naturally 
proportioned to the rest of the hand (i.e., to the thumb and fingers), 
and thus to the rest of the body. In any other case its indications 
will be found to modify these of the rest of the hand, to the consid¬ 
eration of which we can now turn. 

Any excess in the formation of any part of the hand is bad, de¬ 
noting disorder and demoralization of the qualities indicated by the 
formation which is in excess, and this is the more infallible if the 
phalanx of the thumb, wherein are seated the indications of the will , 
be long. 


10. 

Necessity of 
normal con¬ 
dition. 


11 . 

Excesses of 
formation. 


CHAPTER II. 


The Joints of the Fingers. 


12. 

Smooth and 
jointed fin¬ 
gers. 


13 . 

The joints. 


14 . 

The upper 
joint. 


Looking at the fingers of the whole world, they divide them¬ 
selves, cheirognomically speaking, into two great classes : (a) Fingers 
which are knotted, and (/3) fingers which are smooth ; that is to say, 
(a) those in which the joints are so developed as to cause a perceptible 
“ bulge” where they occur between the phalanges of the fingers, and 
(/?) those in which the joints are so little pronounced as to be imper¬ 
ceptible at first sight ; and the former class divides itself again into 
two sub-classes : O 1) those fingers which have both joints developed 
and (a 2) those which have but one. 

Development of the joints of the fingers indicates thought and 
order, which are greater or less in their influence on the life, accord¬ 
ing as one or both joints are to a greater or less degree prominent. 

If the first joint [i.e., that which connects the first (or nailed) 
phalanx and the second (or middle) phalanx] is developed, accen¬ 
tuating the junction of the first and second phalanges of the fingers, 
it indicates a method and reason in the ideas, a well-ordered mind, 
and a neat, administrative disposition. The development of this 
joint, if the phalanx of will [on the thumb] is long, is generally indic¬ 
ative of remarkable intelligence ; but if the phalanx of will is short, 
this development of the first joint often betrays excess of ill- 
directed reasoning, tending to paradoxicalism, and this is more 
certainly the case if the Line of the Head decline upon the Mount of 
the Moon and the fingers are pointed. When the Mount of Jupiter 
is high in the hand, the development of this joint denotes vanity. 


The Joints of the Fingers. 


7 


16 . 

Both joints 
developed. 


If this first joint be very prominent there is always a great deal 15. 
of talent in the subject; but if the lines of the palm are thin and The lipper 
dry, and the thumb is small, a lamentable want of soul is generally P orted - 
apparent. Reason, lioAvever, remains always the prevailing instinct. 

If the second joint [i.e., that which connects the second (or 
middle) phalanx and the third (or lower) phalanx] is also developed, 
the instincts of reason and order are the more strongly pronounced. 

In this case the prevailing instincts of the subject will be symmetry, 
order, and punctuality. The mind will be well regulated, the ideas 
will be good and equitable, and the actions will be governed by 
reflection and deliberation. There will be the love of analysis and 
of inquiry, and a strong penchant towards the sciences. Both joints Influence of 
thus developed, and the Mount of the Moon high in the palm, indi¬ 
cate a love of poetry and of music, but the poetry must be grand and 
reasonable, and the music will be scientific and true. 

3 . 

The development of the second joint only, gives to a subject order 17. 

TI10 lower 

and arrangement in things material and worldly, as opposed to the t 
orderliness in things mental and psychological, which is indicated 
by the development of the first [or upper] joint. The orderliness of 
the second joint is that which appertains to things connected with 
one’s self , a selfish order which produces merchants, calculators, 
speculators, and egoists. 

If, on the other hand, your fingers have neither joint highly devel- 18. 
oped [i.e., no perceptible bulge is to be seen at the joints], your fingers< 
penchant will be towards the arts. Your proceedings and actions 
will be governed by inspiration and by impulse, by sentiment and by 
fancv, rather than, as in the former case, by reasoning, knowledge, 
and analysis, and whatever the type of the hand, if the fingers 
are smooth, the first impression of that subject is always the cor¬ 
rect one, and subsequent reflection will not help him in arriving at 
a conclusion. 



8 


The Complete Palmist . 


19 . 

Smooth 
fingers with 
upper joint 
perceptible. 


20 . 

Bad line of 
head. 


21 . 

Effect of 
joints. 


Effect of 

smooth 

fingers. 


22 . 

Smooth fin¬ 
gers. 


Bad line of 
head. 


23 . 

Differences 
of impulse. 


24 . 

Effect of 
joints. 


Smooth fingers with the first joint indicated by a bulge which is 
not very much accentuated, often denote a talent for spontaneous 
invention and intuition in the pursuit of science, but these qualities 
are never in this case the result of calculation. This first joint rising 
only on the back of the fingers, not bulging out at their sides, indi¬ 
cates a talent for invention. 

When with smooth fingers the Line of the Head is bad and 
twisted, declining upon the Mount of the Moon, which is high, with 
a short phalanx of logic in the thumb, though the intuition remains, 
it will generally be all wrong, and give to the subject the most false 
conceptions. 

Thus it is easily explained that whilst knotty-fingered subjects 
have most taste intellectually speaking [taste, properly so called, 
being born of reason and intellectual consideration], those with 
smooth fingers have the larger share of natural and unreasoning 
grace. Passion [as opposed to sensuality] is the worldly instinct of 
the former, whereas sensuality [as opposed to passion] is generally a 
characteristic of the latter. 

By a like chain of argument, smooth-fingered subjects often fail 
in their undertakings through pursuing them too hotly and im¬ 
pulsively, and when with smooth fingers the Line of Head is 
separated from the Line of Life [ 477 ] the badness of the latter sign 
is the more pronounced, for the impulse of the smooth fingers will 
carry into prompt and unconsidered action the false impressions 
and mistaken self-confidence of the separated lines. 

Throughout the examination of hands, these two principles must be 
borne in mind—that the jointed subject works by calculation, reason, 
and knowledge, whilst the action of the smooth-fingered subject is born 
of and governed by spontaneity, instinct, impulse, and inspiration. 

At the same time one must never lose sight of this particular ; 
that, though with the first joint developed a hand may betray 


9 


The Joints of the Fingers. 

artistic instincts, if both joints are prominent, art becomes a thing 
tolerated merely, and not a thing understood. 

Education, self-discipline, and cultivation may develop joints 
in a hand, and may cause lingers originally rounded to become 
square, or even spatulated, but they can never erase the joints and 
produce a smooth-lingered hand, or mould square or spatulated 
lingers into roundness, for it is easier to go from artistic to scientific 
instincts, from intuition to knowledge, or from idealism to material¬ 
ism, than vice versa. 


25 . 

Development 
and disap¬ 
pearance of 
joints. 


CHAPTER III. 


26 . 

Short fingers. 


27 . 

Effect of 
short fingers. 


28 . 

Thick and 
short fingers. 

Weak hand. 


29 . 

Short fingers 
with joints. 


The Comparative Length of the Fingers . 

Again, the fingers of a hand are either short or long. That is, on 
first sight they may strike one as being either short or long by com¬ 
parison with the palm and rest of the hand, or by comparison with 
the majority of fingers one is in the habit of seeing. 

People with short fingers are quicker, more impulsive, and act 
more by intuition and on the spur of the moment, than people with 
long ; they prefer generalities to details, jumping hastily to conclu¬ 
sions, and are quick at grasping the entirety of a subject. 

They are not particular about trifles, caring little for appearances 
and for the conventionalities of life ; but their leading feature is 
their quickness of instinct and action. Their judgment is quick, 
and their action is prompt, and they have, to a remarkable degree, 
the instinct of the perception of masses. They are brief and concise 
in expression and in writing, but often when the rest of the hand is 
weak such subjects are given to frivolity and chattering. 

If the fingers are thick as well as short it is a sign of cruelty. 
Short fingers with a short Line of Head denote want of tact, and care¬ 
lessness in acting on impulse, especially if the Mount of the Moon is 
highly developed ; but with short nails and a long Line of Head, the 
instinct of synthesis [which is the great attribute of the sliort-fin- 
gered subject] gives a talent for grasping particulars and compre¬ 
hending a scheme which produces a rare faculty for administration. 

If with short fingers either or both of the joints are developed, 
they will have a certain amount of reason and calculation to assist 


The Comparative Length of the Fingers. 


11 


the quickness of their intellect, which will thus be supplemented by 
a powerful auxiliary, for the calculation indicated by the joints will 
be able to apply itself with the rapidity of comprehension indicated 
by the shortness of the lingers. 

With long fingers we find a love of detail even to frivolousness, 
an instinct of minutiae which often blinds the subject to the appre¬ 
ciation of the harmonious whole, carefulness in dress and behavior, 
and consequent hate of slovenliness or brusquerie of manner. Such 
a subject will be respectful and dignified, easily put out, and easily 
pleased by an attention to the minor peculiarities of his nature. 

If long fingers have the first joint developed, such a subject will 
be inquisitive, watchful, always on his guard against liberties, ob¬ 
servant of small things, and addicted to manias and idiosyncracies 
about things, especially if the phalanx of logic in his thumb belong. 

Artists with such fingers as these will often elaborate detail at 
the expense of the mass of the subject upon which they are work¬ 
ing, and all persons whose fingers present this formation will be dis¬ 
trustful, always trying to seek out second meanings for one’s re¬ 
marks, and attributing motives and deep significations to one’s most 
meaningless speeches and most trivial actions. 

Long fingers, therefore, betray a worrying disposition, worrying 
both to themselves and to others, unless a long Line of Head and a 
well-developed phalanx of will modify the indications of the fingers. 

In literature such subjects pay an attention to detail which is 
maddening to see in print; for they go off at a tangent, and discourse 
on matters more or less germane to the subject in hand, until one 
loses sight of the prime object of the argument, which thus becomes 
confused and wearisome. 

Such hands, also, often betray cowardice, deceitfulness, and affec¬ 
tation ; but these tendencies may be overruled by a good Line of 
Head and a welbdeveloped Mount of Mars. [371-2.] 


30 . 

Long fingers. 


31 . 

Long fingers 
and upper 
joint. 


32 . 

Long-fin¬ 
gered artists 
and others. 


33 . 

Effect of 
long fingers. 


34 . 

Long fingers 
in literature. 


35 . 

Bad effects of 
long fingers. 


12 


The Complete Palmist. 


36 . 

Long fingers 
and both 
joints. 


37 . 

Large, me¬ 
dium, and 
small hands. 


38 . 

Differences 
between 
large and 
small-handed 
subjects. 


39 . 

Handwrit¬ 

ings. 

40 . 

Medium 

hands. 


With both joints developed you will find pugnacity, argu¬ 
ment, and a didactic mode of expression, boldness of manner and 
speech, and even malice, especially when to these long-jointed 
fingers a subject adds a large thumb, which indications generally 
reveal chicanery, dishonesty, a controversial humor, and a pen¬ 
chant towards scandal and mischief-making; the latter particu¬ 
larly when the fingers terminate in short nails. 

Thus, to recapitulate: A large hand indicates a love and ap¬ 
preciation of details and minutiae; a medium-sized hand denotes 
comprehension of details and power of grasping a whole ; whilst 
very small hands betray always the instincts and appreciation of 
synthesis. 

The large-handed subject will have things small in themselves, 
but exquisitely finished, whilst the small-handed subject desires 
the massive, the grand, and the colossal. Artists in horology 
have always large, whilst the designers and builders of pyramids 
and colossal temples have always small, hands. In Egyptian 
papyri and hieroglyphic inscriptions the smallness of the hands 
of the persons represented always strikes one at first sight. 

In like manner people with small hands always write large, 
whilst people with large hands always write [naturally] small. 

Thus it will be seen that it is only medium-proportioned 
hands that possess the talents of synthesis and of analysis, the 
power of appreciating at the same time the mass, and the details 
of which it is constituted. 


CHAPTER IV. 


The Fingers Generally . 

The three phalanges of the fingers have also their significa¬ 
tions. Thus, the first phalanges of the fingers represent the 
intuitive faculties, the second phalanges represent the reasoning 
powers, and the third or lowest phalanges represent the material 
instincts. Thus, therefore, if the third phalanges are relatively 
the largest, and are thick and full by comparison with the others, 
the prevailing instincts will be those of sensuality and of luxury ; 
if the second phalanges are the most considerable, a love of 
reason and reasoning will be the mainspring of the life, whilst 
with a high development of the first phalanges the intuitive and 
divine attributes will be the prevailing characteristics of the subject. 

Thus, it will be seen, the joints seem to form, as it were, walls 
between the worlds; the joint of philosophy and of reason di¬ 
viding the phalanx of intuition and instinct from the phalanx 
of reason and knowledge; and the joint of material order form¬ 
ing the boundary betwixt the reasoning faculties and the world 
of materialism. 

From what has gone before it will be comprehended that thick 
fingers will always denote a love of ease and luxury ; but also, 
unless the hand is hard, the subject will not seek and require 
luxury ; he will only enjoy and appreciate it when it comes in 

his wav. 

e/ 

When the fingers are twisted and malformed, with short nails, 
and only the elementary lines [those of head, heart, and life] 


41 . 

The three 
phalanges. 


42 . 

Effect of the 
joints. 


43 . 

Thick 

fingers. 


44 . 

Twisted 

fingers. 


14 


45 

Stiff and 
hard hands. 

46 . 

Fingers turn¬ 
ing back. 

47 . 

Fingers 
fitting into 
one another 
or not. 


48 . 

Transparent 

fingers. 

49 . 

Ball at the 
finger tips. 


The Complete Palmist. 

are visible in the hand, it is almost infallibly the sign of a cruel 
and tyrannical disposition, if not of a murderous instinct ; but 
if these twisted lingers are found on an otherwise good hand the 
deduction to be made will only be that of a mocking and an¬ 
noying disposition. 

If a hand is stiff and hard, opening with difficulty to its full 
extent, it betrays stubbornness of character. 

People whose fingers have a tendency to turn back, being 
supple and elastic, are generally sagacious and clever, though 
inclined to extravagance, and always curious and inquisitive. 

The fingers fitting closely together without interstices between 
them denote avarice, whereas if there are considerable interstices 
and chinks between them which show the light through when the 
hand is held between the eye and the light, it is a sign [like the 
turning back of the fingers] of inquisitiveness. 

Smoothness and transparency of the fingers betray indiscretion 
and loquacity. 

Whatever may be the formation of the fingers, the type to which 
they belong, or the other conditions of the hand, if a little fleshy 
ball or knob be found on the face of the first phalanx it is a sign of 
extreme sensitiveness and sensibility, of tact [from the dread of 
inflicting pain upon others], and of taste [which is the natural 
heritage of a nature so gifted]. 

It may be noted, also, in this place that there are certain indica¬ 
tions to be read in the greater or less length and development of 
each separate finger; but this is noticed further on under the head¬ 
ing of the Cheirognomy of the Individual Fingers. 


CHAPTER Y. 


The Finger Tips. 

The first [or exterior] phalanges of the fingers of a hand present 
four principal formations. They are either “ Spatidate,” i.e., the 
tip of the finger is broad and fiat, or club-shaped, like the “ spatule ” 
with which a chemist mixes his drugs; “Square” i.e., the tip of 
the finger, instead of being round and cylindrical and curved over 
the top, is flat upon the tip, and so shaped that a transverse section 
of the tip would present the appearance of a square, at least as 
regards three sides thereof [the inside of the finger tip is in almost 
all cases curved]; “Conic” L e ., the tip is cylindrical and rounded 
over the top like a thimble ; or “Pointed ” i.e., the finger ends in a 
more or less extended circular point—and each of these forms has 
such marked and different characteristics as almost to constitute 
types by themselves. [With certain concomitant signs they do con¬ 
stitute the Types of Clieirognomy which will be fully considered in a 
future sub-section ; but it seems right here to notice the particular 
instincts indicated by each one in particular.] 

If your fingers terminate in a spatule your first desire will be for 
action, activity, movement, locomotion, and manual exercise ; you 
will have a love of what is useful, physical, and reasonable ; yours 
will be the appreciation of things from the utilitarian point of view, 
love of animals, and inclination for travel, war, agriculture, and 
commerce. You will interest yourself principally in the things of 
real life—physical and mechanical force, calculation, industry, 
applied sciences, decorative art, and so on. 


50 . 

The four 
principal 
formations. 


51 . 

Spatulate 

fingers. 



16 


The Complete Palmist. 


52 . 

Jointed or 
smooth spat- 
ulate fingers. 


53 . 

Square fin¬ 
gers. 


54 . 

Tidiness. 


55 . 

Smooth 
and jointed 
square fin¬ 
gers. 


And here [to recede a little] you must take into consideration 
what we said about the joints, understanding that the subject with 
spatulate knotty lingers will develop and pursue the propensities of 
the S23atulate linger tip by reason, calculation, and knowledge, as 
opposed to the subject with spatulate smooth lingers, who will 
develop the same characteristics by spontaneity, by impulse, by 
rapid locomotion, and by inspiration. Thus, if your lingers ter¬ 
minating in spatule have the joints developed you will excel in 
practical science and scientific mechanics [such as statics, dynam¬ 
ics, navigation, architecture, and the like]. And the tendencies 
of this spatulate formation of the linger tips are the more accen¬ 
tuated if you add to them a large thumb and firm hands. 

If your finger tips are square your prevailing characteristics will 
be symmetry and exactitude of thought and habit. You will have 
a taste for philosophy, politics, social science and morals, languages, 
logic, geometry [though you will probably only study them super¬ 
ficially]. You will admire dramatic, analytic, and didactic poetry, 
and you will require and appreciate metre, rhythm, construction, 
grammar, and arrangement in literature, whether poetic or other¬ 
wise, and vour admiration in art will be for the defined and 
conventional. You will have business capacity and respect for 
authority, combined with moderate but positive ideas. You will 
incline to discovery rather than to imagination, to theory and 
rhetoric rather than to practical action. 

You will admire order and tidiness, but unless your fingers 
have the joints developed, you will not practise the tidiness you 
admire— i.e., you will arrange things that are visible, but your 
drawers and cupboards will be in confusion. 

Of course, as before, the distinctions of the knotty and the 
smooth fingers apply to this formation of the finger tips ; the 
former being always the more sincere and the more trustworthy— 






The Finger Tips. 17 

the more ready to put their theories into practice. As we shall 
presently see [204], a high development of the joints, combined with 
a large thumb, will give to these square-tipped lingers the most 
fanatical red-tapeism, regularity, and self-discipline. 

Thus it will be easily comprehended that between the spatulate 
and the square linger tips there are great distinctions, the principal 
being those of simplicity as opposed to politeness, and of freedom 
as contrasted with elegance. 

Amongst musical people the most thorough theoretical musicians 
have square lingers, by reason of the amount of rhythm and sym¬ 
metrical exactitude required. Brilliant execution and talent as an 
instrumentalist are always accompanied by spatulate lingers [which 
are not , as so many people imagine, the result of instrumental prac¬ 
tice, but of the tenrperament which makes that practice a pleasure], 
whilst singers [who are essentially melodists] have nearly always 
conical and sometimes pointed lingers. 

Again, if your lingers terminate conically, your whole instinct will 
be artistic. You will love art in all its branches, and adore the beau¬ 
tiful in the actual and visible form ; you will be enthusiastic, and in¬ 
clined to romance and social independence, objecting to stern analysis ; 
your greatest danger is that of being carried away into fantasy. 

If these fingers have either or both joints developed, you will 
have more moral force, and will be able to keep your more unruly 
instincts in control. And, as we shall see presently, the tendencies 
of this conical formation of the linger tips are the more accentuated 
if the subject have also soft hands and a small thumb. This remark 
also applies to the pointed formation of the linger tip next below 
noticed. 

When lingers of these formations [the conic and the pointed] are 
gifted with a large thumb, their instinctive art will expand itself 

logically and methodically, almost as if the linger tips were square. 

2 


56 . 

Spatulate and 
square finger 
tips. 


57 . 

Musical fin¬ 


gers. 


58 . 

Conical fin¬ 
gers. 


59 . 

Conic jointed 
fingers. 


60 . 

Effect of the 
thumb. 


18 


Tlie Complete Palmist . 


61 . 

Pointed 

fingers. 


62 . 

Effect of 
pointedness. 


63 . 

The four 
formations. 


64 . 

Amorphous 
finger tips. 


65 . 

Excess of 
formations. 


66 . 

Excessive 

pointedness. 


67 . 

Excess of 
squareness. 


And, lastly, suppose your fingers take the form of a cone, drawn 
out even to pointedness, yours will be exclusively the domain of 
ideality, contemplation, religious fervor, indifference to worldly 
interests, poetry of heart and soul, and yearning for love and liberty, 
cultivation [even to adoration] of the beautiful in the aesthetic 
abstract rather than in the visible and solid. 

Whatever may be the type, formation, or conditions of a hand, a 
pointed formation of the finger tips will denote impressionability of 
the subject. This formation [like the others] will be considered at 
greater length under the heading of the type to which it particularly 
belongs. 

These are the four principal formations of the finger tips, con¬ 
cerning which space renders it impossible, and the intelligence of 
the average reader renders it unnecessary, to go further at the 
present time. 

If the fingers cannot be classed under any of these formations, 
but have their tips absolutely shapeless, and consequently irre¬ 
sponsibly ugly and malformed, such a hand is that of a person 
whose intellect is weak, and Avhose individuality is practically 
nil. 

It must be borne in mind that exaggeration or excess of any form 
denotes a diseased condition of the instincts indicated, by reason of 
their too high development. 

Thus, an exaggerated pointedness is apt to be the result 
of impossible and fanatical romanticism, foolhardiness, and 
imprudence, exaggeration of imagination, which develops into 
lying, and particularly into affectation and eccentricity of 
manner. 

Fingers too square show fanatical love of order and method in 
the abstract, servile submission to conventionality, and to self- 
prescribed and otherwise regulated ordinances. 


The Finger Tips. 


19 


Exaggerated spatulation of the lingers indicates tyranny [espe¬ 
cially in the thumb], perpetual hurry, restlessness, and discontent 
with one’s fellow creatures. 

These excesses of formation are also much influenced by the 
development or want of development of the thumb [92-98 and 
97-98]. 


/ 


68 . 

Excessive 

spatule. 

69 . 

Effect of the 
thumb upon 
excesses. 


CHAPTER VI. 


The Hairiness of the Hand . 


70 . 

Hairy hands 
and smooth 
hands. 


71 . 

Hairy 

thumbs and 
fingers. 


72 . 

Absence of 
hair. 


To leave nothing connected with the hand nnconsidered, the 
greater or less amount of hair found thereon must also engage our 
attention. 

A hand the back of which is very hairy betokens inconstancy, 
whilst a quite hairless and smooth hand denotes folly and presump¬ 
tion. A slight hairiness gives prudence and love of luxury to a man ; 
but a hairy hand on a woman always denotes cruelty. 

Hair upon the thumb [according to the S'ieur de Peruchio ] 
denotes ingenuity ; on the third or lower phalanges of the fingers 
only, it betrays affectation, and on all the phalanges, a quick temper 
and choleric disposition. 

Complete absence of hair upon the hands betokens effeminacy 
and cowardice. 


CHAPTER VII. 


The Color of the Hands. 

If the hands are continually white, never changing color [or 
only doing so very slightly] under the influences of heat or of cold, 
they denote egoism, selfishness, and a want of sympathy with the 
joys and sorrows of others. 

Le Sieur de Peruchio observes, very truly, that in cases such as 
those of soldiers, of servants, and of work people, whose daily occu¬ 
pations must necessarily alter and affect the coloration of their 
hands, the colors cannot be relied upon as a certain indication of 
the temperament; but in the case of women and of persons whose 
sedentary habits, whose light occupations, or whose care of their 
hands tends to preserve them in their normal and natural colors and 
conditions, the following data may with confidence be gone upon : 

Redness of the skin denotes sanguinity and hopefulness of tem¬ 
perament ; yellowness denotes biliousness of disposition ; blackness, 
melancholy; and pallor, a phlegmatic spirit. 

Darkness of tint is always preferable to paleness, which betrays 
effeminacy ; the best color being a decided and wholesome rosiness, 
which betokens a bright and just disposition. 


73 . 

Constantly 
white hands. 


74 . 

Persons 
whose colora¬ 
tions are sig¬ 
nificant. 


75 . 

Red, yellow, 
and dark 
hands. 

76 . 

Preferable 

tint. 


CHAPTER VIII. 


77 . 

Importance 
of the 
thumb. 


78 . 

D’Arpen- 

tigny. 

79 . 

The divisions 
of the thumb. 


80 . 

The phalanx 
of logic and 
of will. 


81 . 

The upper 

phalanx 

weak. 


The Thumb. 

The thumb is by far the most important part of the hand, both 
cheirognomically and practically speaking, for without it the hand 
would be comparatively [if not absolutely] powerless, and in it the 
clieirosopliist looks for the indications of the two greatest controlling 
powers of the human system—will and logic. 

“ The hand denotes the superior animat ,” said D'Arpentigny, 
“ the thumb individualizes the Man.” 

The thumb is divided into three parts—the root [or Mount of 
Venus], which will be considered fully in a future chapter belong¬ 
ing more especially to cheiromancy pure and simple ; the second 
phalanx, which is that of logic; and the first [or nailed] phalanx, 
which is the seat of the will. Thus it betrays the whole hand, and 
interprets the direction in which its indicated aptitudes have been, 
or are being, developed ; for will, reason, and passion are the three 
X)revailing motors of the human race. 

The second phalanx indicates our greater or less amount of per¬ 
ception, judgment, and reasoning power ; the first by its greater or 
less development indicates the strength of our will, our decision, and 
our capacity for taking the initiative. 

If the first phalanx is poor, weak, and short, it betrays feeble¬ 
ness of will, want of decision and promptitude in action, unrelia¬ 
bility and inconstancy, readiness to accept other people’s opinions 
rather than to act upon one’s own ; doubt, uncertainty, and indif¬ 
ference. 


The Thumb. 


23 


When a subject lias such a thumb as this, and is at the same time 
devoted to any particular person or cause, or heroic in his action on 
any particular emergency, his devotion and heroism are spontaneous 
and sudden [i.e ., they are emotional], not premeditated or lasting. 

If with a weak phalanx of will, such as this, your second phalanx 
[that of reason and logic] is highly developed, you will be able to 
give excellent reasons for this want of will and uncertainty of dis¬ 
position, and, though your reasoning powers are excellent, and the 
promptings of your common-sense are strong, you lack the will and 
decision to put your common-sense into practice, and to act boldly 
on the suggestions of your better judgment. 

And, conversely, if your first phalanx be long, and your second 
phalanx be short, you will be quick, impulsive, decided, tenacious 
of your own opinions [however erroneous they may be], and enthu¬ 
siastic ; but your own want of logic to subdue and direct your spirit 
of action and strength of will, renders that will of little use to you, 
and in point of fact you tend toward unreasoning obstinacy. 

A well-developed phalanx of will does often overcome [or at any rate 
greatly modify] a bad fatality foreshadowed in the palm of the hand. 

With square lingers and a good line of Apollo, a well-developed 
first phalanx of the thumb indicates a strong will, tempered and 
modified by a love of justice, and with a soft hand this decision of 
character will only be exercised by fits and starts, in consequence of 
the natural laziness of the disposition. 

With a highly developed Mount of the Moon, a love of repose 
and quietude will soothe the activity of a highly developed phalanx 
of will, which under these circumstances will only show itself by a 
dictatorial tone in conversation and a domination in manner. 

If the phalanx is broad, but not particularly long, it betrays 
obstinacvand unreasonableness, unless with square fingers, when it in¬ 
dicates firmness of judgment and the principles and practice of justice. 


82. 

Heroism of a 
weak thumb. 


83 . 

Weak will 
and strong 
logic. 


84 . 

The upper 
phalanx 
strong and 
the lower 
short. 


85 . 

Power of 
strong will. 

86 . 

Strong will 
with square 
fingers, etc. 
AVith soft 
hand. 


87 . 

Effect of the 
Mount of 
Moon. 


88 . 

Upper 

phalanx 

broad. 


24 


The Complete Palmist . 


89 . 

Excessive 
broadness of 
the phalanx 
of will. 


In a passive 
hand. 


90 . 

Clubbed 
thumb in a 
bad hand. 


91 . 

Upper joint 
turned back. 


92 . 

Effect of 
broad thumb. 


93 . 

Effect of 
small thumb. 


If, besides being the longer, the phalanx of will is excessively 
broad, even to ugliness, it betrays ungovernable passions and obe¬ 
dience to the promptings of an unreasonable will, obstinacy, furious 
impulse, and exaggeration in all things. Tyrants, murderers, brutal 
savages, and the like illustrate greatly this formation, and a man 
who has this clubbed development of thumb is proportionately to be 
dreaded as the formation is more or less pronounced. In a hand 
which is essentially passive, this thumb will denote merely morbid 
melancholy, especially if the phalanx of logic is short, as the latter, 
if long, will greatly modify the indications of the form. 

The sign of the clubbed thumb is, however, the more certain when 
the Mount and Plain of Mars are high and the line of the head is weak. 
It may, to a great extent, be modified and corrected by a well-devel¬ 
oped Mount of Apollo, of Jupiter, or of Venus, or by a good line of 
heart. With these modifying signs such a subject will rather injure 
himself in his fits of temper than wilfully do an injury to another. 

When the phalanx of will turns back, as it often does, it indi¬ 
cates extravagance, luxury, and, with other propitious signs, gener¬ 
osity, though an excess of this formation is bad from its unreasoning 
unthriftiness, which argues a want of moral sense. If, in addition, 
the Mounts of Jupiter and Mars are high, the extravagance of the 
subject will be devoted to display and the gratification of his per¬ 
sonal vanity ; and, as has been observed before, the same remarks 
apply [though in a lesser degree] to the fingers, which, if turned 
back, indicate also extravagance. 

It must also be noted that broadness of the first phalanx of the 
thumb [obstinacy] renders any excess of formation found elsewhere 
in the hand additionally serious and ominous, for it is almost invari- 
ably accompanied by a short and small phalanx of logic or reason. 

Therefore, it will be seen that the greater or less development 
of the various portions of the thumb plays a most important part in 


The Thumb. 


25 


the science of cheirosophy ; you may take it, as a rule, that a small, 
ill-formed, feeble, or badly developed thumb indicates vacillation of 
mind, irresolution and want of decision in affairs which require to be 
governed by reason rather than by instinct or by sentiment. 

If the shortness of the second phalanx [logic] shows want of 
reasoning power ; pointed fingers, a weak line of the head declining 
upon a high Mount of the Moon, and forked at its extremity, all 
give unfailing indications of a foolisli-mindedness that cannot be 
counteracted even by a well-developed phalanx of will, or a well- 
formed line of fortune. 

Small-thumbed subjects are governed rather by heart, as opposed 

to large-thumbed subjects, who are governed by head ; the former 

\ 

have more sentiments than ideas, the latter have more ideas than 
sentiments. 

The bad indications [i.e., the weakness] of a small thumb may be 
counteracted by a high Mount or Plain of Mars, which will give 
firmness and decision to the character, as well as calmness and resig¬ 
nation. Another modifying sign is softness of the hand [i.e., lazi¬ 
ness], for in this case the subject will not take the trouble to get 
into mischief [though he lacks the strength of will to resist tempta¬ 
tion when it comes in his way]. 

With a large thumb, you will be independent and self-reliant, 
inclining rather to despotism, governing by will rather than by per¬ 
suasion ; with a small one, you will be reliant on others, easily gov¬ 
erned, and wanting in self-confidence, but you will possess, if your 
fingers be smooth [no matter what their termination ,], the instincts, 
the natural tendencies [undeveloped though they may be], of art. 

So in the same way, he who is poetic or artistic by reason of his 
smooth, conic fingers, is the more certainly so if he have a small 
thumb ; whilst he who is exact and scientific, by reason of his square 
or knotted fingers, will be the more so if he have also a large thumb. 


94 . 

Short logic in 
a weak hand. 


95 . 

Large 

thumbs and 

small 

thumbs. 

96 . 

Modifying 

signs. 


97 . 

Effect of 
large 

thumb and of 
small thumb. 
With smooth 
fingers. 

98 . 

Small thumb 
on artistic 
hand. 

Large thumb 
on scientific 
hand. 


CHAPTER IX. 


98a. 

Indications. 


99. 

Soft and 
hard hands. 
Artists. 


100 . 

Hard and 
soft spatu- 
late hands. 


101 . 

Soft hands. 


The Consistency of the Hands. 

Another great class difference wliicli exists among hands is 
that of consistency. That is to say, of two hands outwardly 
the same, one may be so firm as to be hard, and the other may 
be so soft as to be flabby, and the great distinction thus 
indicated is, that soft hands betray a quiet temperament, inclining 
to laziness, and reaching even to lethargy, whilst hard hands indicate 
an energetic longing for action and a love of hard physical or manual 
labor. These differences show themselves chiefly in the way in 
which the different subjects undertake their work. 

The soft hand has more poetry in its composition than the hard. 
Thus, an artist with hard hands will paint things real and actual 
rather than things ideal, and his pictures will be more active and 
manly than those of a softer-handed artist, who will paint the images 
of his fancy, and whose works will show greater soul, greater 
diversity, and more fantasy. 

Again, a spatulate subject with hard hands will engage in active 
exercises, athletics and the like, whilst the similar but softer-handed 
subject prefers gentler exercise, and prefers to watch others engag¬ 
ing in active occupations ; the former will get up early and work 
hard, whilst the latter will get up later, though when up he will 
work as hard, or take great interest in seeing others work as hard. 

Again, people with soft hands have always a love of the marvel¬ 
lous, being more nervous, more impressionable, more imaginative 
than those with hard hands. A very soft hand lias to a still greater 


The Consistency of the Hands. 


degree developed this fascination for the strange and uncanny, being 
rendered additionally superstitious by their bodily laziness, which 
keeps their minds active. The tendency is still more pronounced if 
the fingers are pointed. 

On the other hand, a soft spatulate subject, by reason of Ms 102 . 

7 • n , • 7 . 7-7 • i 7 • Soft SDcltU- 

aesire tor movement, is always eager to search and experimentalize ]ate ha]uls 
in the marvellous ; discoveries in the occult sciences are generally 
made by people with pointed fingers, but these discoveries are 
always followed up by people with soft spatulate hands. 

In like manner a very hard hand will be superstitious from want 103 . 


of intellect to make him otherwise, and the tendencv will be the 


Very hard 
hands. 


more accentuated if the subject have also pointed and smooth 
fingers. 

But if a soft hand have a long phalanx of will, the subject, 
though naturally lazy, will discipline himself, and often compel th thumb 
himself to do work which is distasteful to him. 


104. 

Influence of 


I call attention to the circumstance that, as we increase in years 105 . 
and our intellects get weaker, we are apt to take to hard manual ^ l ^^ s s ° 
labor, such as gardening, carpentering, and the like; it will be in age- 
observed that at the same time our hands get firmer, even to hard- 
nesss, and this before natural decay renders them parchmenty and 
bony. We become more philosophic, and less credulous, more 
logical, and less romantic, as with age our joints thus develop. I 
have before alluded [25] to the fact that joints may develop in a 
smooth hand, as a result of intellectual and scientific cultivation. 

Soft hands are often more capable of tenderness and affection 106 . 
than true love; but hard hands are generally the more capable of rhe affec ' 

0 tions. 

true love, though less prone to demonstrative tenderness and affec¬ 
tion. 

To be perfect, a hand should be firm without hardness, and elastic *07. 

1 The perfect 

without being flabby ; such a hand only hardens very slowly with consistency. 


28 


The Complete Palmist. 



108. 

Hard hands 
are like spat- 
ulate hands. 


age, whereas an already very firm hand often becomes extremely 
hard. Smoothness, and a gentle firmness of the hand,‘in youth, 
betoken delicacy of mind, whilst dryness and thinness betray rude¬ 
ness and insensibility. 

A hard hand has, by its hardness, many of the instincts of the 
spatnlate, whatever may be its exterior formation. For instance, it 
can bear hardships and privations before which a soft-handed sub 
ject would succumb. It also likes the life of constant effort and 
struggle, so distasteful to the soft, and so welcome to the spatulate 


109. 

Excessive 

hardness. 


hand. 

It must be also noted that an exceedingly hard hand always de¬ 
notes unintelligence, and if a short phalanx of logic is superadded 
thereto, the activity of the hand will be ill directed in the pursuit of 
pleasures and other affairs useless to the owner of the hand. 


CHAPTER X. 


The Aspect of the Hand. 

The aspect of the hand must also be taken into consideration, in no. 
connection with the consistency. Thus, a soft 'wrinkled hand shows ^ llllklo(1 
impressionability and uprightness of soul, and a wrinkled hard hand 
is that of a person who is pugnacious, irritating, and teasing, espe¬ 
cially if the nails be short [146-148]. 

The hack of the hand lined and wrinkled always indicates bene- in. 
volence of mind and sensitiveness of soul. backs. 6 

A hand of good firm consistency, having the joint of order [the 112 . 
second] well developed, with a long phalanx of logic, is an almost 
invariable indication of good fortune, which is well merited, well joint, etc - 
striven for, and therefore thoroughly realized. 

People of sedentary occupations generally have soft hands, and 113 . 

,. ., . ... . , -1 . i . Soft-handed 

are generally the most republican in their creeds, because their re p ub i icans 

bodies being quiet, their brains are the more active. These soft- 
handed republicans are those who rave at their followers and ha¬ 
rangue the mob with the premeditated verbiage of experimental 
incendiarism, whilst the hard-handed republicans are those who 
organize, who act, and who devote all their energies to the attain¬ 
ment of the objects which their pointed fingers prompt them to 
strive for. 

The man with the firm, strong hands and the developed Mount 114 . 

of Venus is the man who will exert himself to amuse others with 

feats of grace and of agility ; who will romp with children, and work Mount ot> 

Venus. 

hard to contribute his share to the general harmony. 


115 . 

Softness 
during ill¬ 
ness. 


30 The Complete Palmist. 

During an illness, a hand which is naturally inclined to be hard 
will often become temporarily soft, regaining its natural hardness 
when the ordinary habits of life are resumed. It has been argued 
from this, that the indications afforded by cliirognomy are unstable 
and unreliable ; but, on the other hand, it is a most interesting fact 
in support of the science, for the enforced laziness during the time 
of illness produces in the hand the cheirognomical sign of laziness, 
and proves that a temporary abandonment of its characteristic em¬ 
ployments by a hand will cause it to conform cheirognomically to 
the indication of the newly acquired (though enforced) course of life. 


CHAPTER XI. 


The Cheirognomy of the Individual Fingers. 

There is also to be considered a separate cheirognomy of each 
individual linger, which must particularly be studied in reading 
the indications of a mixed hand. 

Thus, if the first finger [or index] is long, it indicates pride ii6. 
and contemplation; if it is short, it indicates activity and impulse; 
if it is very long [i.e ., as long as the second or middle finger], 
it indicates a sense of luxury even to sensualism, love of pleasure 
and comfort rather than of art, combined with an indiscriminat- 
ing arrogance and egoism which is ashamed of poor relations or 
associates, if surprised in their company. 

A long and pointed first linger betrays religious exaltation. 117. 

If it is longer than the second finger, it denotes that the life ^ e } x long 
is ruled by ambition or [if the hand is good in its other develop¬ 
ments] by religion. 

If the first [or nailed] phalanx is long, it denotes religion 'and 118. 
intuition ; if the second [or middle] phalanx is long, it indicates the 

ambition ; and if the third [or lowest] phalanx is long, it betrays first finger, 
pride and love of domination. 

If, whilst of normal length, the finger is pointed, the subject 119. 
has intuition and religious instincts. If the mount at the base ^Xvei!»iKa h 
of the finger is highly developed, and all the fingers are smooth, mount, 
we generally find a tendency to ecstasy and mysticism. The in¬ 
tuition of the pointed forefinger applies itself, as a rule, to the 


32 


The Complete Palmist. 


120. 

Square 

index. 


121 . 

Spatulation 
of the index. 

122 . 

The second 
finger. Spat 
ulated or 
twisted. 

123 . 

Pointed 

second 

finger. 


124 . 

Square mid¬ 
dle finger. 

125 . 

Spatulation 
of the mid¬ 
dle finger. 

126 . 

The pha¬ 
langes of 
the second 
finger. 


contemplation and perfection of the qualities shown by the forma¬ 
tions of the other lingers and the rest of the hand. 

If it is square, we find a love of and a search after truth. 
Such a subject will seek to discover truth from natural [not oc¬ 
cult] sources of information. He will have a love of landscape 
painting in art, whilst, with a good development of the Mount 
of Jupiter, he will have tolerance and reason in religion. 

A spatulate termination to this finger [fortunately a very 
rare form] indicates, as a rule, intense mysticism and error, 
especially in a smooth-fingered hand. 

If the second [or middle] finger is highly developed and flat 
[/. e ., inclined to spatulation] it indicates sadness, fatalism, a 
morbid imagination, and melancholy. [If it is twisted, it is said 
to be a sign of murderous instincts and inclination.] 

This finger is seldom pointed ; but when it is so, the point 
modifies the sad and morbid influence which is the inseparable 
evil of the development and conditions of this finger, producing 
callousness and frivolity in place of morbidity and moroseness. 
This result is more striking if the hand bears also a small thumb. 

If- the finger is square, the character of the subject becomes 
grave in proportion to the greater or lesser accentuation of the 
square formation of the finger. 

The spatulate is the most natural and ordinary termination 
for this finger, giving it activity of imagination, and a morbid 
fancy in matters relating to art, science, and literature. 

If on this finger the first phalanx is long, it betokens sad¬ 
ness and superstition; very long, it betrays a morbid desire for 
death, and, in a weak hand with a small thumb, a horrible 
temptation to suicide. If the second phalanx is long by com¬ 
parison with the others, it denotes love of agriculture and mechan¬ 
ical occupations, or, if the joints are prominent, mathematics and 


33 


The Cheirognomy of the Individual Fingers . 


the exact sciences. If the fingers are smooth, the development of 
this second phalanx will give a talent for occult science. Lastly, 
if the third phalanx is long and large, it denotes avarice. 

If the finger incline at the tip towards the first finger, the 
fatalism indicated thereby is dominated, and to some extent mod¬ 
ified, by pride and self-confidence. If it incline towards the third 
[or middle] finger, this same fatalism is dominated by art. 

If the third [or ring] finger is as long as the first, it shows artistic 
taste, and a desire and ambition to become celebrated and wealthy 
through artistic talent. If it is as long as the second finger, how¬ 
ever, it indicates a gambler, or a person who is foolhardy and rash, 
especially when the Mount of Mercury is developed. When a hand 
is otherwise good and strong, this length of the third linger merely 
indicates a love of adventure and enterprise, especially if the finger 
tips are spatulate. If the finger is longer than the second or middle 
finger, it indicates that the instinct and talent for art will triumph 
over the fatality which will place obstacles in its way and try to 
impede its progress. 

If the tip of this finger is pointed, it denotes intuition in art; but 
if all the other fingers present different formations of the tips, it will 
indicate frivolity and levity of mind. 

A square-tipped third finger will seek for positivism, research 
and reason in art, and, with the third or lowest phalanx large, a 
love of wealth. 

A spatulate termination to the finger will denote love of action 
and movement in art, battles, struggles, animated scenes, and repre¬ 
sentations of them. Such subjects generally make good actors, 
elocutionists, and orators. 

If the finger is amorphic and shapeless at its extremity, it 
denotes positivism of mind and commercial talent and instinct. 
If the finger is short, whilst the rest of the hand is decidedly 


127 . 

Middle fin¬ 
ger inclined 
towards the 
third or first. 

128 . 

The third 
finger. 

o 


129 . 

Pointed third 
finger. 


130 . 

Square third 
finger. 


131 . 

Spatulation 
of the third 
finger. 


132 . 

Shapeless¬ 
ness or short¬ 
ness of the 
third finger. 


34 


The Complete Palmist. 


133 . 

The phalan¬ 
ges of the 
third finger. 


134 . 

The joints of 
the third 
finger. 


135 . 

The fourth 
finger. 


136 . 

Pointed 

fourth 

finger. 


artistic, the talent for art will be there, but it will indicate a 
mercenary pursuit of art for the sake of its emoluments and 
rewards. 

The first [or outer] phalanx long, shows great artistic feeling; the 
second highly developed, denotes reason and industry in art and 
the love of those qualities ; the third phalanx dominating the others, 
betrays love of form and conventionality, vanity in art, and ' strong 
desire for wealth. 

The development of the first [or upper] joint will give to this 
finger research and love of perfection and finish in art, whilst a 
prominence of the second [or lower] joint will indicate a love and 
appreciation of riches. 

If the fourth [or little] finger is long [i.e ., reaching to the middle 
of the nailed phalanx of the middle finger] it indicates a search 
after knowledge, a love of education, and a desire to perfect oneself 
in all kinds of learning. Such a subject will gather quickly the 
principia of a science, and [from the eloquence and powers of 
expression, denoted by a development of this finger] can discourse 
and converse with ease on any subject he has ever taken up. If the 
finger is as long as the third itself, the owner of the hand will be a 
philosopher and a savant, unless the whole hand is bad, when this 
formation denotes cunning and ruse. In the rare cases where the 
little finger is so long as to reach the top of the second finger, the 
indication is that the love of science will dominate every fatality of 
the life, and will surmount every obstacle which may be thrown in 
his way. If, on the other hand, the finger is very short, it betokens 
a very quick perception and power of grasping things and reasoning 
them out with rapidity. 

A pointed little finger indicates intuition in applied and occult 
sciences, perspicacity, cunning, and eloquence, which can be brought 
into requisition to discourse about the veriest nothings. Such sub- 


The Cheirognomy of the Individual Fingers. 


35 


jects make by far the best “after-dinner speakers” and compli¬ 
mentary orators. 

Squareness of this finger tip denotes reason in science, love of 
research and discovery, combined with logic, good sense, and 
facility of expression when there is need for it. 

A spatulation of the little finger gives movement, agitation, and 
often fantasy in science, fervid and moving eloquence, with a strong 
aptitude and talent for mechanics. If the rest of the hand is bad, 
this spatulated formation of the finger tips will indicate theft. 

If the first phalanx is long, we find love of science and elo¬ 
quence ; when the second phalanx is the longest of the three, we 
find industry and commercial capacity ; and, with a development of 
the third, we get cunning, cleverness, perspicacity, and lying. 

Prominence of the first joint indicates research in science, and 
often divination; the salience of the second betrays research and 
industry in business and commercial skill and aptitude. 


137 . 

Square little 


finger. 


138 . 

Spatulation 
of the little 
finger. 


139 . 

The phalan¬ 
ges of the 
fourth finger. 


140 . 

The joints of 
the fourth 
finger. 


CHAPTER XII. 


140a. 

Cheirology. 


141. 

Closed hands 
and open 
hands. 


142. 

Carelessness. 

143. 

Agitation 
and quies¬ 
cence. 


144. 

The fingers 
tapping to¬ 
gether. 


The Habitual Actions and Natural Positions of the Hands. 

In arriving at an estimate of a character by the application of 
cheirosophy, there are also to be considered the habitual actions of 
the hands and the natural positions into which they unconsciously 
place themselves when in a state of repose. This branch of the 
science of Cheirosophy has been treated as a distinct science under 
the name of Cheirology. At present, however, a few of the elemen¬ 
tary rules of this branch cannot fail to be of use and interest to the 
student of Cheirosophy, as being in a high degree germane to the con¬ 
siderations wherewith we are in this volume occupying our attention. 

To keep the hands always tightly closed denotes secretiveness, 
and not unfrequently a tendency to untruth. To keep them closed 
in this manner even when walking betrays timidity and avarice, 
whilst to carry the hands continually open indicates liberality and 
openness of disposition. 

To let the hands hang carelessly and loosely by the sides be¬ 
tokens laziness, restlessness, and often a suspicious disposition. 

If in walking you keej) the hands clasped, swinging them to and 
fro, it shows promptness and impetuosity of character, whilst to 
keep the hands motionless by the sides betrays dignity and reserve. 
To keep them absolutely and studiously impassive denotes vanity, 
conceit, and often falsehood. 

If when the body is at rest the fingers are constantly tapping to¬ 
gether, it denotes lightness, dreaminess, and fantasy. If they beat 
together strongly, it indicates promptitude and decision of opinion ; 



Habitual Actions and Natural Positions of the Hands. 37 

whilst, if they tremble, it usually denotes [unless the subject is 
nervous and highly strung, when it is a natural consequence] folly 
and often want of principle. 

Gaule points out the fact that “ the often clapping and folding of 145. 
the handes note covetous, and their much moving in speech loqua- 
cious” ; two indications which, though correct, partake rather too speech, 
much of the nature of truisms. 


CHAPTER XIII. 


146. 

Short and 
broad nails. 


147. 

Short-nailed 

women. 


148. 

Good indica¬ 
tions of 
short nails. 


149. 

More indica¬ 
tions of 
short nails. 


150. 

Bitten nails. 


The Finger Nails. 

If the nails are short and broad rather than long, with the skin 
growing far up them, the subject will be pugnacious, critical in dis¬ 
position, and fond of domination in matters relating to himself and 
his surroundings ; in fact, he will be imbued with a spirit of meddle¬ 
someness. 

With short nails, a woman whose line of heart is small, whose 
head line is straight and inclined to turn up towards the little linger, 
whose Mount of Mercury [363] is flat and covered with lines, and 
whose Mounts of Moon and of Mars are high, with the joints of the 
finger plainly visible, will be, undoubtedly of the kind of a woman 
who is known as “a virago.' 1 The above are all the signs of harsh¬ 
ness and quarrelsomeness in a woman, and the x>ossession of short 
nails accentuates the certainty of the indications. 

Short nails denote sharpness, quickness of intellect, and per¬ 
spicacity—with a good line of head, they indicate administrative 
talent; with a good line of Apollo they indicate irony and badi¬ 
nage. 

Short-nailed subjects make the best journalists, by reason of their 
love of criticism and readiness to engage in any dispute or conten¬ 
tion. On a good-natured and happy hand, or in a lazy hand, short 
nails denote a spirit of mockery and of good-humored sarcasm, 
frivolity, criticism, and contradiction. 

It goes almost without saying that when the nails are short from 
the habit of biting them, they indicate nervousness, abstraction, 


The Finger Fails. 39 

subject to tits of melancholy, a worrying disposition and continual 
irritation. 

White and shining, soft in texture, with a tendency to pinkness, 
by reason of their transparency and of a normal and well-pro- 
poitioned length, the nails indicate a good spirit, delicacy of mind, 
sensitiveness, tact, and good taste. 

Nails that are both short and pale betoken falsehood and cun¬ 
ning, and a weak physical and moral nature. 

Long-nailed subjects are calmer in temper and more gentle than 
those with short nails ; they are less critical and more impressionable 
and are of an artistic nature. 

Nails that are long and thin and very much curved across the 
linger show a tendency to throat and lung troubles, and this is more 
accentuated when the nail is heavily ribbed or fluted. 

Nails that are very thick, long and bent, are indicative of a nature 
inclined to be cruel and unchaste. 

Nails that are of medium length and width and having a bluish 
tint, denote the circulation of the blood to be at fault, and such 
subjects will be found to be extremely nervous. 

A branch of Chiromancy, known by the name of Onycliomancy, 
and treating of the white and dark spots found upon the finger 
nails, is not introduced in this book, as these indications cannot be 
substantiated. 

So much, therefore, for the preliminary Cheirognomic examina¬ 
tion of the hand generally, and of its various parts and their con¬ 
ditions in particular. It is not necessary to pursue these analytical 
distinctions further ; the student of Cheirognomy will easily under¬ 
stand how to apply the modifications indicated by these combined 
and analyzed indications to the general tendencies and instincts sug¬ 
gested by the type of a hand so as to arrive at a comprehension of the 
most accurate nuances of the character and constitution of his subject. 


151. 

White 

smooth nails. 


152. 

Short and 
pale. 

153. 

Long nails. 


154. 

Long curved 
nails. 


155. 

Long thick 
nails. 

156. 

Nails with 
bluish tint. 


157. 

Spots on the 
nails. 


158. 

Application 
of general 
principles. 


SUB-SECTION II. 


159. 

The seven 
types. 


Mixed hands. 


THE SEVEN TYPES OF HANDS, AND THEIR SEVERAL 

CHARACTERISTICS. 

Viewed by the light of the science of Clieirognomy, all hands 
belong either to one of six principal classes, or else to a seventh, 
which is composed of the hands which cannot be rightly classed in 
anv of the other six. These are determined as follows : 

«j 

I. The Elementary Hand. 

II. The Spatulate, or Active Hand. 

III. The Conical, or Artistic Hand. 

IV. The Square, or Useful Hand. 

V. The Knotty, or Philosophic Hand. 

VI. The Pointed, or Psychic Hand. 

To these are added a seventh, which is not so much a type by 
itself as a combination of several. This class comprises those hands 
which seem to represent more than one type, and are consequently 
known in Cheirognomy as 

VII. Mixed Hands. 




PLATE I.—THE ELEMENTARY HAND. 












CHAPTER I. 


The Elementary Hand. 

This is so called because it belongs to the lowest grade of human 
intelligence, and seems only to be gifted with the amount of intel¬ 
lect requisite to provide the merest necessities of life. 

Its outward appearance presents the following features : the lin¬ 
gers are short and thick, wanting in pliability ; the thumb short, 
often slightly turned back ; and the palm very large, thick, and 
hard. The palm is, as a general rule, longer than the fingers. These 
hands very frequently have absolutely no line of Fate [or Fortune] 
at all. 

Such a hand as this betokens a crass and sluggard intelligence, 
incapable of understanding anything but the physical and visible 
aspect of things, a mind governed by custom and habit, and not by 
inclination or originality. Such a character, inaccessible to reason 
from sheer want of originality of intellect to understand it, is slug¬ 
gish, heavy, and lazy as regards any occupation beyond its accus¬ 
tomed toil. It has no imagination or reasoning powers, and will- 
only exert itself mentally or physically so as to obtain that which is 
absolutely necessary to its existence. Thus in war such hands will 
only fight to defend themselves, and not for glory or honor ; such 
jieople fight with a brutish ferocity, but without any attention to 
the arts of modern warfare. They act by rule and rote, not in obe¬ 
dience to their passions or imagination, which are conspicuous by 
their absence. Such people, having no instinct of cultivation, would 
regard education as a folly, if not as a crime or as something unholy. 


160 . 

Its appear¬ 
ance and 
characteris¬ 
tics. 


161 . 

Indications 
of the type. 


42 


The Complete Palmist. 


162. 

Specimens of 
the type. 


163. 

Quasi¬ 

elementary 

hands. 


164. 

Powers of 
cultivation. 


165. 

Contrasting 

types. 


The Laplanders are the best specimens of this type; and ont of 
their latitudes the true elementary hand is very seldom found in its 
pure crass unintelligence, except perhaps among the lower class 
Tartars and Slavs, who exist , rather than live, with an existence 
which is purely negative, dead to any of the higher considerations 
which make life worth living. 

Though this type, in its pure state, does not exist among us, still 
we often see hands with a strong tendency to the elementary form. 
Such will be noticed among mixed hands, and it will be found that 
they always bring these coarse and sluggish qualities to interfere 
with those of the dominant type of the hand. 

Almost the only charm to which these minds are accessible is 
that of music [346]. They are generally superstitious, and always 
ignorant; and, having no strength of mind, they are stricken most 
sorely by any grief or disaster which overtakes them. 

With the Laps and Slavs as the examples of this type, we may 
take the Moslems and Hindoos as the contrasting opposites. Among 
these poetic, cunning, romantic, sensual peoples the elementary hand 
does not exist, and to perform the degrading and menial offices 
which are with us performed by hands showing the developments of 
this type, these Oriental nations have to employ a separate class of 
low-caste creatures to whose elementary hands such labors do not 


come amiss. 






PLATE II.—THE SPATULATE OR ACTIVE HAND. 


































CHAPTER II. 


The Spatulate , or Active Hand. 

This is the hand whose fingers have the first [or outer] phalanx 
terminating more or less in a spatula, and, bearing in mind what has 
been said in a previous sub-section [97-98] concerning the thumb, it 
will be easily conceived that this latter must be large to give the true 
character to the spatulate hand. 

The great pronounced characteristics of this type are : action, 
movement, energy ; and, of course, the harder or firmer the hand, 
the more pronounced will these characteristics be. A man of this 
type is resolute, self-confident, and desirous of abundance rather 
than of sufficiency ; he will be more active than delicate, more ener¬ 
getic than enthusiastic ; in love he will be more constant and faithful 
[though less tender and affectionate] than the conic or pointed- 
handed subject, by reason of his want of inclination towards things 
romantic and poetic. 

With a small thumb a spatulate subject will try to do much, but 
will fail, through want of perseverance, to carry out his intentions, 
from uncertainty in his course of action. He will voyage, but his 
voyages will be aimless and objectless ; he will be active, but his 
activity will be futile, and produce no results. These diminutions 
of the force of the type will, however, be greatly modified if the 
small thumb be largely composed of a long phalanx of logic, [the 
second,] which formation will reduce within practicable limits his 
uncertainty, and quicken the intellect to give a better direction to 
his activity. 


166. 

Indications 
of the type. 


167. 

Effect of a 
small thumb. 


44 


The Complete Palmist. 


168. 

Smooth 

fingers. 


169. 

Spatulate- 

handed 

colonists. 


170. 

Proclivities 
of the type. 


171 . 

Orderliness 
of the class. 


If, with spatulate tips, his fingers be very smooth, he will admire 
elegance in his surroundings and in the things which conduce to his 
comfort; but it will be a fashionable rather than an artistic form of 
elegance. His will be the love of reality in art and energy in its 
pursuit; he will be fond of horses, dogs, navigation, the science of 
agriculture, the mechanical arts, the theory of warfare, and the 
talents of administration and command—in fact, all pursuits where 
the mind directs the activity. In all his active pursuits he will seek 
inspiration for the motive of his procedure. Such subjects are gen¬ 
erally musicians, and when this is so, they are great executants. 
Such subjects, also, are usually self-centred and essentially ego¬ 
tistical. 

People with spatulate hands make the best colonists, because 
they are only attached to a country for what it produces for them ; 
they like manual labor and all other forms of activity, being intoler¬ 
ant of insufficiency ; if, therefore, their native land is overcrowded, 
and the good things of this life are scarce, they are quite satisfied to 
migrate in search of abundance. They are only very slightly sensual, 
and are greedy rather than epicurean ; they like travelling about and 
seeing new places ; being very self-confident, they have no objection 
to solitude, and are clever at all utilitarian sciences, which enable 
them to shift for themselves. 

A man of the spatulate type admires architecture, but likes it to be 
stupendous rather than ornate. They are great arithmeticians, and 
to please them, things must be astonishing and exact, representing a 
large amount of physical labor. With them the artisan is more con¬ 
sidered than the artist; they aprjreciate wealth rather than luxury, 
quantity rather than quality. A town, to suit their views, must be 
clean, regularly built, substantial, and of business-like appearance. 

These subjects will be fond of order and regularity, because of 
its appearance, and they will arrange and tidy things more from 


The Spatulate , or Active Hand. 


45 


the desire to be doing something than from the love of tidiness 
itself. 

Their laws are strict and often tyrannical, but always just; and 
their language is forcible rather than ornate. They are brave, in¬ 
dustrious, and persevering; not cast down by trifles, but rather 

\ 

courting difficulties, so as to surmount them. They desire to com¬ 
mand, and are intolerant of restraint, unless for their individual 
good. They are most tenacious of what is their own, and are always 
ready to fight for their rights. 

People who boast of an ancient lineage, and descent from the 
feudal barons of the Middle Ages, and show in support of their pre¬ 
tensions a fine, pointed, smooth hand, make a great mistake, for the 
true old stock of the fighting ancienne noblesse are always dis¬ 
tinguishable by their spatulate fingers. 

If the spatulate hand has no need to fight, it will hunt, shoot, 
fence, race, and, in fact, do anything which conveys the impression 
of, and satisfies their penchant towards activity and strife. 

In religion the spatulate subject desires a belief reasoned out and 
certain. 

The North American is the embodiment of this spatulate type, 
with his advanced notions, his industry, perseverance, and cunning; 
his economy, caution, and calculation ; and as a result of many of 
these characteristics, we find the type largely represented in Scot¬ 
land, far more generally indeed than in England, as a moment’s con¬ 
sideration will prove to be natural. 

It is to the spatulate type, therefore, that we owe nearly all our 
great men in the world of physical exertion, of active enterprise, and 
of applied science ; their watchwords being, from first to last—energy, 
movement, hardihood, and perseverance. 

The excess of this type [i.e., a too highly developed spatulation 
of the finger tips] will produce a tyrannical desire for action, and a 


172. 

Administra¬ 
tion of the 
type. 


173. 

Hand of the 

hereditary 

nobility. 


174. 

Occupations 
of the type. 

175. 

Religion. 

176. 

Spatulate- 

handed 

nations. 


177. 

Talents of 
the type. 


178. 

Excess of the 
formation. 


46 


The Complete Palmist. 


179. 

Perversion of 
the success of 
the type. 


180. 

Spatulate 

tips and 
upper joint. 


181. 

Both joints 
developed. 


182. 

Soft spatu¬ 
late hand. 


tendency to be constantly worrying and urging other peojfie to in¬ 
creased activity. Such subjects are constantly finding fault, and 
their freedom of manner and liberty of thought and expression know 
no bounds. This excess will also give brusquerie and roughness of 
manner, especially when the Line of Life is thin and red ; but a good 
Line of Heart and well-developed Mount of Venus will reduce these 
significations to a rough good-nature. 

When a hand whose spatulate developement is thus in excess, has 
the joints developed and a small thumb, the indication will be that 
of unsuccessfulness in research and invention, arising from the fact 
that an excessive activity is perverted by want of will to keep it in 
check. 

If this type of hand have the first joint developed, its owner will 
be endowed with reasoning faculty and independence of rule in his 
active pursuits. He will be eminently sceptical of tenderness or 
affection until its existence is proved to him, intolerant of fanaticism, 
and dead to the charms of imagination and the interests of eccen¬ 
tricity. His will be the talent of politics ; he will object to anything 
uncomfortable or uncertain; he will hate poetry and enthusiasm, 
and will be endowed with an extreme self-confidence. This develop¬ 
ment will give him a spirit of cohesion to his fellow-men, resistance 
against innovation, and a love of political freedom of the masses. 

With both joints developed he will combine with his physical 
energy exact sciences and practical studies ; he will devote himself to 
all mechanical and constructive arts, navigation, geometry and the 
like ; he will affect particularly the sciences which regulate the laws 
of motion or action. Such men make the best inventors and engi¬ 
neers, for the activity of their bodies puts into execution and carries 
out the suggestions and discoveries of their minds. 

When a spatulate hand is very soft, the spirit of action will have 
a powerful enemy in an innate laziness. Such a subject will be a late 


The Spatulate , or Active Hand. 



riser, and a man of sedentary habits ; but will love the spectacle and 
noise of action and movement. He will like to travel and hear about 
travels, but he will travel comfortably, preferring to hear and read 
about the actions and movements of others than to be active and 
energetic himself. 


A subject whose spatulate hands have the first [or upper] joint 183 . 

developed will be constantly forming plans and projects, which will, ^ and 

however, come to nothing, unless the phalanx of will is long in the joint de- 
tlmmb, in which case he will make himself carry out his plans. veloped. 


CHAPTER III. 


The Conical , or Artistic Hand. 


184. 

Its three 
variations. 


185. 

Its appear¬ 
ance. 


This hand is, in its appearance and in the characteristics of the 
type which it represents, a great contrast to the one whose considera¬ 
tion we have just relinquished. 

It is subject also to three variations of formation and concomitant 
characteristics which modify the indications of the type as regards 
the ends to which it works. Firstly, a supple hand with a small 
thumb and a developed though still medium palm. This hand is 
drawn invariably to what is actually beautiful in art. Secondly, a 
large hand, rather thick and short, with a large thumb. This hand 
is endued with a desire of wealth, grandeur, and good fortune. And, 
thirdly, a large and very firm hand, the palm highly developed. 
This formation indicates a strong tendency to sensuality. All three 
are governed by inspiration, and are absolutely unfit for physical 
and mechanical pursuits ; but the first goes into a scheme enthusiasti¬ 
cally, the second cunningly, and the third with an aim towards self- 
gratification. 

Hands of this type always present the following form [modified, 
of course, by the conditions enumerated in the last paragraph]: The 
fingers, slightly broad and large at the third [or lowest] phalanx, 
grow gradually thinner, till the tips of the first [or nailed] phalanges 
terminate in a cone [as in Plate III.]. The thumb is generally small, 
and the palm fairly developed. 

Such a subject will be ruled by impulse and instinct, rather than 
by reason or calculation, and will always be attracted at once by the 



PLATE III.—THE CONICAL OR ARTISTIC HAND. 













The Conical , or Artistic Hand. 


49 


beautiful aspects of life and matter. He will prefer that things 186. 

should be beautiful rather than that they should be useful. At- 
tracted by ease, novelty, liberty, and anything which strikes his tions of the 


mind as being pleasant, he is at the same time vain, and fearful of 
ridicule ; enthusiastic, but outwardly humble, and his prime motive 
powers are enthusiasm and impulse, rather than force or determina¬ 
tion. Subject to the most sudden changes of temperament, he is at 
one moment in the seventh heaven of excitable hopefulness, and the 
next in the nethermost abyss of intangible despair. Unable to com¬ 
mand, he is incapable of obedience. He may be attracted in a given 
direction, but never driven. The ties of a domestic life are un¬ 
bearable to him. At heart he is a pure Bohemian. In lieu of ideas 
he has sentiments. Light-hearted, open-handed, and impulsive, his 
imagination is as warm as his heart is by nature cold. In speech he 
gesticulates, and seeks to impress his meaning by movements of the 
hands, and he generally succeeds in imparting his enthusiasm to 
those around him. It is a hard-surfaced hand of this type which 
characterizes the general whose soldiers follow him blindly, who acts 
on impulse and under excitement for honor and glory, and who 
leads his men without fear to death or to victory. 

If the characteristics of his type are still more developed [i.e., the i87. 
palm larger, the fingers smoother and more supple ; a small thumb, 
and the finger tips a more accentuated cone] he is still more the slave 
of his passions, and he has still less power to hold himself in check. 

His whole character may be denominated spirituel. To him pleasure 
is a passion, beauty a worship. If he takes up any pursuit he is 
wild over it. If he makes a friendship, it is an adoration. Never 
taking the trouble to hate, he never makes enemies. Generous and 
open-hearted even to extravagance, his purse, which is closed her¬ 
metically to his creditors, is always at the service of his friends. He 
is most sensitive to blame or suspicion, and greatly touched by 


4 


50 


The Complete Palmist. 


188 . 

Evil tend¬ 
encies of the 
type. 


189 . 

Affections of 
the type. 


190 . 

The 

characteris¬ 
tics of the 
type. 


friendship and kindness. Such subjects will conform to law [so 
long as it does not interfere with them], because they cannot take 
the trouble to rebel against it; but they will not brook political 
despotism which interferes with their comfort, in which cases they 
will rush enthusiastically to the extremes of republicanism, social¬ 
ism, and nihilism. 

Very often in an artistic nature are found only the defects of the 
type : Sensuality, laziness, egotism, eccentricity, cynicism,dissipation, 
incapacity for concentration, cunning, falsehood, and exaggeration— 
a formidable list, truly, but a moment’s thought will show how 
easily they may become the besetting sins of an artistic nature. In 
these cases the hands are large and very firm, the palm highly de¬ 
veloped, the Mount of Venus high, and the third [or lowest] phalanx 
of the fingers always thick and large. 

Subjects of the artistic type are not nearly so capable of constancy 
in love as their square or spatulate brethren and sisters [166], for 
they are so apt to fall in love on impulse, and without consideration, 
whereas with the spatulate, true love, [as are all other subjects,] is a 
matter of reason and calculation. Again, subjects of the artistic type 
are, to a great extent, incapable of warm, platonic affection,-—filial, 
paternal, or otherwise,—for in all their emotions they seek the pleas¬ 
ure of the senses rather than the mental and moral satisfactions of 
attachment. 

Beauty is the guiding principle of these hands, but were the 
world to be entirely populated by them, want of foresight, folly, 
splendid poverty, and the fanaticism of form would be universal. 
The artistic type may, therefore, be summed up thus: Its prevailing 
characteristics are love of the beautiful, preference of the ideal to the 
real, intuition, impulse, and egotism. 


f 

































PLATE IV.—THE SQUARE OR USEFUL HAND. 

















CHAPTER IY. 


The Square , or Useful Hand. 


This hand generally inclines to size rather than to smallness, the 
size being usually produced by an increased breadth of the hand, 
the lingers knotted [i.e., with one or both joints developed, gener¬ 
ally, in fact, nearly always, the second or lower one], the outer 
phalanx square [i.e., the lingers throughout their length having 
four distinct sides, not being rounded, as is the case with an artistic 
or psychic hand], the thumb rather large, with the root [Mount of 
Venus] well developed ; the palm of a medium thickness, hollow, 
and rather firm [Plate IV.]. 

The leading instincts on which this hand founds all its char¬ 
acteristics are perseverance, foresight, order, and regularity. To 
these hands the useful is far preferable to the beautiful; their great 
passion is organization, arrangement, classification, regularity of 
form and outline, and the acceptation of things prescribed and un¬ 
derstood as customary. They like things of a sort to match, and 
they have essentially the talent of perceiving in things apparently 
different the points of similarity, and q?er contra in things outwardly 
similar the points of difference. They are great disciplinarians, pre¬ 
ferring the good of the community to the welfare of the individual. 
They are only romantic within the bounds of reason, and are constant 
in love, more from a sense of the fitness of things than from depth of 
feeling. They have the greatest aptitude for comforming to the obser¬ 
vances of social life, for they are great respecters of persons, and 


191 . 

In appear¬ 
ance. 


192 . 

Indications 
of the type. 


52 


The Complete Palmist. 


193 . 

Square and 
spatulate 
types com¬ 
pared. 


194 . 

Proclivities 
of the type. 


195 . 

Religion. 

196 . 

Orderliness 
of the type. 


197 . 

Indications 
of the type. 


submissive to established authority, from their great love of regu¬ 
larity and order in human affairs. 

We tind the same submission to authority in the character of 
subjects of the spatulate type, but with them it arises from another 
cause. The spatulate subject submits from personal love of his 
superior, to whom he naturally attaches himself, whilst the square- 
handed subject submits from admiration of the principles of consti¬ 
tuted authority. The dictator must be powerful to obtain the 
allegiance of the spatulate subject; he need only be properly con¬ 
stituted to be sure of the allegiance of the square. 

They cherish their privileges, preferring them to complete liberty ; 
and they have a passion for varied experience, which they are 
always ready to pay for, preferring acquired knowledge to intuitive 
perception. 

A Croix mistique [591] in a square hand will give it calm and 
reasonable religion. 

They are slaves to arrangement—that is, they have a place for 
everything, and everything is in its place; unless their fingers have 
also the joints developed, it is quite possible [if not probable] that 
their rooms and cupboards may be outwardly very untidy, but, 
nevertheless, they always know where everything is. Their books, 
of which they keep catalogues and indexes, are inscribed with their 
names and the date of acquisition, and are arranged more in subjects 
than in sizes, though they love to see them in even sizes as much as 
possible. They are natty and handy with their fingers, neat and 
well-brushed in their persons, polite and courteous in their manners, 
whilst they are great sticklers for the ordinances of etiquette. 

As a rule, they will only comprehend things as far as they can 
positively see them, having themselves far too well under control to 
allow themselves to launch into enthusiasm ; they are, therefore, 
strong disciplinarians, prone to details, fond of minutiae. Their 


The Square , or Useful Hand . 53 

course of life is regular and pre-arranged, they are punctual, and 
intolerant of unpunctuality, except when they can regard it as a foil 
for their own exactness ; for they are always vain even to conceit, 
though they are always too well bred to obtrude their vanity in its 
more usual and vulgar forms. They are graceful in their movements, 
generally good shots, and good at games and exercises of skill, as 
opposed to exercises of mere physical strength. 

The best musicians [especially harmonists and musical theoreti¬ 
cians] have always delicately squared lingers, with slightly de¬ 
veloped joints and small thumbs [702]. 

Square-handed people can always govern the expressions of their 
faces, their language, and their looks; they are most averse to 
sudden changes of temperament or circumstance. Moderate ranges , 
they mistake the perfect for the beautiful ; they cannot bear ex- 
citements and “scenes,” and they hate when people obtrude their 
troubles, discomforts, or quarrels upon them. They dress very 
quietly, but always very well, and they avoid studiously anything 
like ostentation, or display in matters of eccentricity, ornament, or 
jewelry, excepting on fitting occasions, when their magnificence is 
striking from its good taste. 

They like poetry to be neat and geometrically perfect, rather than 
grand or rugged ; they call things by generic rather than by specific 
or distinctive names, and prefer terms which express the use of a 
thing rather than its appearance. They are generally suspicious and 
quietly cunning, vigilant, and complete masters of intrigue ; they 
prefer common sense to genius, and social observance to either; they 
are often flatterers, and are themselves most susceptible to flattery, 
ambitious, but quietly and steadily, rather than enthusiastically and 
obviously so. They worship talent and cultivation, though without 
sycophancy ; they are fond of arithmetical calculations, though very 
often not clever at them themselves, unless their thumbs be large, 


198 . 

Musicians of 
the type. 

199 . 

Manners of 
the type. 


200 . 

Further 
characteris¬ 
tics of the 
type. 


201 . 

Smooth 

square 

fingers. 


202 . 

With declin¬ 
ing Line of 
Head. 


203 . 

Upper joint 
developed. 


204 . 

Both joints 
developed. 


54 The Complete Palmist 

and the Line of Apollo absent, which are signs which always 
betray a talent for mathematics. They are good talkers, listeners, 
and entertainers ; they make many acquaintances, but few friends. 
They do not require men to be sociable, so much as blind to the 
faults of themselves and others. 

When the fingers, besides being square, are decidedly smooth, 
the subject will take poetical views of things material and useful, 
and will affect the study of moral sciences, philosophy, metaphysics, 
and the like. He will have the instincts of art, and require truth 
therein ; in poetry he will require rhythm, form, and period. Such 
a mind is well regulated, and he will check a natural tendency to 
enthusiasm. 

The smooth, square hand is one of the cleverest that exist ; love 
of truth in matters which concern itself is one of its first principles, 
but , if the Line of Head come down upon the Mount of the Moon [478], 
this instinct will often be annulled, especially if the line is forked, 
but there will always be an order and a method in the chimaeras to 
which such a subject is irresistibly addicted, which gives them a 
strong semblance of truth. 

A square hand, if it has the first joint developed, will have the 
great advantage over its fellows of the type, of a sincerity, a love of 
progress and justice which elevates it above the defects of its class. 
Its calm and cool research after truth will cause it to require reason 
in matters of art, and object to anything outre or unaccustomed. 
Law and rule are the necessities of its life. 

If both joints are developed, it will indicate a great love of 
elegant sciences, of the studies of botany, archaeology, history, law, 
and orthography, geometry, grammar, mathematics, and agriculture. 
This subject will be aggressively methodical, and will insist upon 
ticketing, docketing, classifying, arranging everything and upon 
doing everything according to rule, or to a pre-arranged order. 


The Square , or Usef ul Hand . 55 

He will be fond of clearly defined and ascertained studies. 
[History and politics rather than metaphysics or occult science.] 
But a small thumb, or a high Mount of the Moon, will give such a 
subject as this a strange faculty for occultism. At the same time he 
will have a strongly developed instinct of justice, and is thoroughly 
trustworthy and true. 

Good sense, therefore, is the guiding principle of the square type, 
but, were the world wholly populated by them, fanatical “red- 
tapeism ” and narrow-minded despotism would be universal. 

Excess of this formation will give fanaticism of order and method, 
despotism in discipline, and narrow-mindedness. 

A square-fingered hand, to be perfect, should have short nails 
[argument and self-defence] to defend its love of justice. 

It would be easy to continue the interesting subject of the square 
type to a considerable length, if space would allow it, but we must 
leave these precise and insincere hands, to turn our attention to 
another type, which in some respects resembles them, namely, the 
Knotty, or Philosophic Hand. 


205 . 

With Mount 
of the Moon. 


206 . 

Character of 
the type. 

207 . 

Excess of the 
type. 


208 . 

The finger¬ 
nails. 


CHAPTER Y. 


209 . 

Its divisions. 


210 . 

Its appear¬ 
ance. 


211 . 

Its character¬ 
istics. 


The Knotty , or Philosophic Hand. 

M. d’Arpentigny divides this type into two classes or sections : 
One, that of the sensualists, whose ideas are derived from external 
influences; and the other that of the idealists, whose ideas are 
evolved from their inner consciousness. 

The appearance of the hands of this type is most distinctive. A 
large elastic palm, both joints developed, the outer phalanx present¬ 
ing the mixed appearance of the square and of the conic finger tips. 
This formation, combined with the development of the first or upper 
joint, gives the finger tips an oval, clubbed appearance, which is 
rather ugly, but very characteristic. The thumb is always large, 
having its two phalanges [those of will and of logic] of exactly 
the same length, indicating a balancing proportion of will and com¬ 
mon sense. 

The great characteristics indicated by this type of hand are— 
analysis, meditation, philosophy, deduction, poetry of reason, inde¬ 
pendence, often deism and democracy, and the search after, and 
love of, the abstract and absolute truth. The development of the 
joints gives this hand calculation, method, and deduction; the 
quasi-comic formation of the exterior phalanx gives it the instinct 
of poetry in the abstract, and beauty in things real; and the thumb 
gives it perseverance in its metaphysical studies. In all things these 
subjects desire truth more than beauty, and prefer the meaning of a 
sentiment to the manner in which it is expressed ; thus, their litera¬ 
ture is remarkable for its clearness, its utility, and its variety as 





PLATE V.—THE KNOTTY OR PHILOSOPHIC HAND. 






























































































































' 










- 

























57 


The Knotty , or Philosophic Hand. 

opposed to that of the square type, which is notable principally for 
its finish and regularity of style, and they are great lovers and 
students of the pure sciences—whether moral, physical, aesthetic, or 
experimental. 

Such subjects like to account for everything, to know the reason 
of everything, whether physical, metaphysical, physiological, or 
psychic ; their ideas they form for themselves, without caring in the 
least for those of other people ; their convictions—religious, social, 
and otherwise—are only acquired as the result of careful analysis 
and consideration of the questions involved; love, instinct, faith, 
are all made subordinate to reason, which is the principle more 
powerful with them than rule, conventionalism, inclination, or love, 
except in matters of religion, for their religion is one rather of love 
and adoration than of fear and conventionality. It is thus that 
among the subjects of this type we find a large proportion of per¬ 
sons who become known as sceptics of various kinds, for they look 
upon doubt and scepticism as one of the first necessary evils of life, 
which will give way to reverence and adoration, and therefore do 
not in any way worry themselves on this account. 

The subjects of the philosophic type do not study detail to the 
exclusion of entirety, or the individual to the exclusion of the com¬ 
munity, but are capable of considering and comprehending the 
synthesis and the analysis of any subject to which they may turn 
their attention. Therefore, they are tolerant of all forms of rule, 
seeing at once the good and the bad points of any or every system of 
government. 

They are just, [from an intuitive sense of justice and a discrim¬ 
inating instinct of ethics,] unsuperstitious, great advocates of social 
and religions freedom, and moderate in their pleasures. It is in 
these respects that they differ so totally from the subordination and 
conventionalism of square-fingered hands. 


212. 

Its religion. 


213 . 

Synthesis 
and analysis. 


214 . 

Further char¬ 
acteristics. 


58 


The Complete Palmist. 


215 . 

Philosophic 
development 
of other 
types. 


216 . 

Small and 
large hands. 


217 . 

The guiding 
principle. 


Thus reasoning out everything, the philosophic type constitute 
almost entirely the vast schools of the Eclectics. And besides hands 
which are distinctly of this philosophic type other types may, by 
the development of joints, attain [as we have seen] attributes of this 
one. Thus : a square [or useful] or a spatulate [or active] hand may 
have its joints developed ; this will give them a love of theorizing 
and speculating on matters of practice, realty and custom. In the 
same way a conic [or artistic] hand, whose joints are developed, will 
search after truth in matters appertaining to art, and will speculate 
upon, and analyze the means of attaining the truly beautiful. 

If the philosophic hand is small, it thinks and reasons from the 
heart, studying the entireties of matters which present themselves in 
masses ; if large, and with a proportionate thumb, it thinks and 
reasons with the head, studying the analysis of those masses, but 
the result is always the same. 

Attained possibly by different means, the end is always identical, 
and in all things directed by reason, and by common sense, directed 
by will. Iteason is the guiding principle of these hands. 


















































































' 















. 















































































































































PLATE VI.—THE POINTED OR PSYCHIC HAND. 












CHAPTER VI. 


The Pointed , or Psychic Hand . 

W e have now reached the consideration of the most beautiful 
and delicate, but, alas! the most useless and impractical type of 
hand. This hand is but rarely found, but when you do see it, you 
cannot help remarking it, and will therefore recognize it at once by 
its description. 

It is very small and delicate, having a thin palm, smooth, fine 
fingers, long and delicately pointed, or with its joints only just indi¬ 
cated by a very slight swelling. It has generally a pretty little 
thumb. 

To these subjects belong the domains of the beautiful ideal, the 
land of dreams, of Utopian ideas, and of artistic fervor; they have 
the delicacy and true instinct of art of the conic hand, without its 
bad points, its sensualism, its egotism, and its worldliness. They 
are guided only by their idealism, by impulse, by their instinct of 
right in the abstract, and by their natural love and attraction for 
the beautiful in all things, whether mundane or celestial; bearing 
the same relation to the philosophic hands that the artistic bear 
to the useful, the relation of contrast. 

These hands never command, for they establish for themselves 
far too lofty an ideal to care about earthly domination or material 
interests of any kind; they are incapable of strife or struggles for 
glory, but, if their instincts of the ideally just are aroused, they will 
devote themselves even to death in defence of what they consider to 
be ethically right. Such were the heroes of La Vendee, such were 


218 . 

Its rarity. 


219 . 

Its appear¬ 
ance. 


220 . 

Their guid¬ 
ing principle. 


221 . 

Their charac¬ 
teristics. 


60 


The Complete Palmist. 


Idealism. 


222 . 

The gift of 
prophecy. 


223 . 

Artists. 


224 . 

Hereditary 

hands. 


the persecuted followers of Huz, and in such manner is accounted 
for the devoted enthusiasm of the Moorish and Moslem tribes, who 
fight like wild beasts for the defence of their faiths, for Allah, his 
prophet, and the Qur’an. They will undertake huge forlorn enter¬ 
prises, but will disdain to embark upon small, practicable expedi¬ 
tions, in quest of some material good. 

[. Besbarrolles , in calling attention to the fact that they not un- 
frequently have the gift of prophecy, says that he considers their 
attributes due to the fact that the absence of joints produces a clear 
passage for the currents of animal electricity or magnetism to which 
he considers the gifts of prophecy, presentiment, divination, and 
even ordinary intuition attributable. He considers that the joints in 
the fingers of the other types act as obstacles to the passage of “la 
fluide” [which he believes man to receive (if at all) at his finger 
tips] to a greater or less degree as those joints are more or less 
developed, and that to the absence of these joints in the psychic 
hand their intuition, divination, and presentiments are to be 
ascribed.] 

An artist with hands presenting the appearance of a psychic 
formation will paint subjects of wild romance, but will not seek to 
paint ideas which convey an impression of truth. Such subjects 
have no instinct of real life, nor are they [as the absence of joints 
would denote] orderly in themselves, or in their ideas. 

As has been stated, these hands are not the exclusive inheritance 
of noble birth ; we find them in all classes of life, from the highest to 
the lowest, and wherever and whenever they are found, their charac¬ 
teristics are the same—worldly uselessness, with aesthetic perfection 
and poetry of soul in their highest state of development. Soul is 
with them the first consideration ; form or treatment is with them 
subordinate to subject, as is also execution to idea. Amongst all 
classes they are respected for their very incomprehensibility. 


61 


The Pointed\ or Psychic Hand. 

The excess of this type [o e. , when tlie exaggeration of the 
pointedness is extremely marked] produces romancers, postnrists, 
fanatics of various kinds, persons prone to fantasies and ecstasies, 
foolhardiness and deceitfulness, and often mysticism. If the Line of 
Heart is strong, we find in this case excess of affection, which is 
carried to an extreme, and affectation of manner. 

The luxurious, dreaming Orientals are almost exclusively of this 
type. Among them we find spiritualists, mediums, and all the so- 
called “ weak-minded ” devotees of physical science, who accept all 
that is told them without investigation or analysis, and are, there¬ 
fore, the easy prey of 4 * spiritualistic” impostors. In countries 
where such hands predominate and hold the reins of government, we 
find that rule is maintained by superstition and by fetichism. 

These subjects can, however, see beauty and good in every form 
of rule and government from Autocracy to Republicanism, and in 
every form of belief from Popery to Positivism. It is the psychic 
hand that invents a religion, and it is the philosophic, the useful, 
and the active hands that dissect that religion, and analyze its claims 
to consideration. 

Such subjects are ruled by heart and by soul; their feelings are 
acute, their nerves highly strung, and they are easily fired with 
a wondrous enthusiasm. Theirs are the talents which produce the 
most inspired poetry ; their influence over the masses is extreme, 
from tlieir power of communicating their enthusiasm to tlieir fellow^- 
men, a power whereby they appeal alike to the most refined and to 
the most coarse, to the most intellectual and to the most igno¬ 
rant. 

It would take many pages to give these beautiful, useless hands 
their due. We can only congratulate ourselves that their refining in¬ 
fluence exists among us, and that w T e of the spatulate and square 
types can work to support them, instead of allowing the world to 


225 . 

Excessive de¬ 
velopment of 
the type. 


226 . 

Orientals and 
spiritualists. 


227 . 

Psychic ad¬ 
ministration 
and religion. 


228 . 

Sympathy of 
the type. 


229 . 

Value of the 
type. 


230 . 

Upper joint 
developed. 


231 . 

Religion of 
the type. 


232 . 

Both joints 
developed. 


233 . 

Effect of 
joints. 


234 . 

Hard hands. 


62 The Complete Palmist. • 

crush their beautiful characteristics and dull the keenness of their 
pure intuition. 

If the pointed hand have the first joint developed, the character 
of the owner of that hand will be changeable, and apt to rush from 
one extreme to another, from ecstatic enthusiasm to suspicion, scep¬ 
ticism, and levity ; he will be essentially credulous in things savoring 
of the marvellous and the mystic ; he will be eccentric, and unable 
to reconcile himself to any prescribed religion ; it is such subjects 
that become fanatics and religious monomaniacs. 

They have the inspiration and intuition of truth, with a continual 
desire to analyze their impulses, and to master their romantic 
emotions. This often causes them to separate themselves from all 
recognized forms of belief, and to strike out for themselves new 
religions to satisfy the romantic instinct of piety, which with them 
is so strongly developed. 

With both joints developed, a psychic hand will lose much of its 

exaltation of character by mingling it with calculation, reason, posi- 

• 

tivism, and the faculty of invention; at the same time, it cannot 
complete and develop its inventions and calculations itself, but 
leaves them unfinished for square and spatulate hands to work out. 

Such a subject, unless his thumb is large, will be prone to dis¬ 
contentedness, doubt, fear, and dejection ; and also, with a weak 
hand, will be Utopian and revolutionary in his views from his very 
instinct of calculation. These jointed hands of the psychic type 
have often all their spirit and spontaneous impulse annulled or 
levelled ; their artistic intuitions are spoiled by their instincts of 
calculation and invention, but still , in that calculation and invention 
the old inspiration and intuition will make itself felt and apparent. 

Sometimes a hand of the pointed type is hard. This will betoken 
an artistic use of strength, as in the case of dancers, jugglers, acro¬ 
bats, and the like. 


CHAPTER VII. 


The Mixed Hand. 

It is here that the task of the clieirognomist becomes most diffi¬ 
cult, calls forth all his intuitive perception and skill of analysis, and 
gives him the greatest difficulty in putting his perceptions into 
words. 

The mixed hand is that one of which the shape is so uncertain 
as to resemble, even to possibility of confusion, more than one type. 
Thus, an artistic hand may be so marked in its conicality as to be- 
come almost psychic ; a square hand may be confounded with a 
spatulate ; or, having developed joints and a quasi-conic tip, may be 
mistaken for a philosophic, and so on ad infinitum. In such cases 
the cheirosopliist must so combine, mentally, the tendencies of both 
types represented, as to arrive at a true analysis of the character of 
the subject under examination. 

In reading the indications afforded by these mixed hands, you 
will do well to bear very carefully in mind the cheirognomy of the 
individual fingers. 

To the mixed hand belongs the talent of dealing between people 
as merchants or administrators of justice. They succeed best in in¬ 
termediary arts— i.e ., those of a plastic, regular, and acquired 
description, such as illumination, carving, heraldry, or decoration. 
A man endowed with a mixed hand may generally be described as 
“ Jack of ail trades and master of none.” Such people are less ex¬ 
clusive, and more tolerant of all classes and creeds, than those of 
the pronounced and certain types. 


235 . 

Its constitu¬ 
tion. 


236 . 

Difficulty of 
interpreta¬ 
tion. 

237 . 

Value of the 
type. 


64 


The Complete Palmist. 


238 . 

Character¬ 
istics of the 
type. 


239 . 

Advisability 
of selection. 


240 . 

Advantages 
of the type. 


241 . 

Combination 
of the artistic 
and element¬ 
ary types. 


242 . 

Appearance 
and instincts. 


Such subjects attain to a certain skill in a quantity of pursuits, but 
seldom attain to an excellence in, or a complete mastery of, any jyar- 
ticular one ; they have been well described as handy, interesting 
men, who, to talk to, are always amusing, but seldom if ever in¬ 
structive. Their intelligence is large and comprehensive rather than 
strong in any particular direction ; they can suit themselves instantly 
to the company in which they find themselves, and can generally 
make themselves at home in any discussion which may arise. 

The only chance they have of becoming really distinguished, is to 
take the best talent they have, and cultivate that one to the ex¬ 
clusion of the others; but they seldom have the strength of purpose 
to effect this. 

At the same time there are cases where it may be an advantage 
to possess a mixed hand—as, for instance, where the idealism of a 
pointed hand is modified and subdued to reason by the fusion of the 
square hand, such a hand combining imagery and reason. 

A common form of mixed hand is that which combines the 
artistic and the elementary ; and this becomes more comprehensible 
if you have followed carefully those two types ; for the intelligence 
of art or music, and the worship of the beautiful, are the only feel¬ 
ings to which the true elementary hand is at all susceptible, and 
the artistic hand, by the exaggeration of its failings, may often de¬ 
generate into the artistic-elementary. Such a hand will betoken a 
vacillating, unreliable, apathetic character, without sympathy for 
the misfortunes, or gratification at the good-luck of others. Such 
people are rude poets, superstitious, and very sensitive to bodily 
pain. Such hands denote activity by their hardness, and credulity 
by their pointed tips. 

Hands of the artistic-elementary type are softer and narrower 
than those of the purely elementary variety, their fingers are thick 
and smooth, the thumb gross and conic, the hands closing more 


The Mixed Hand. 


65 


easily than they open. Their prevailing instincts are selfishness and 
greed ; they are not good at manual labor or industry of any sort, 
bnt they excel in negotiations and schemes of self-aggrandizement. 

A hand half psychic and half elementary will give us innocence 
and want of capacity for self-protection. Such subjects will be con¬ 
stantly deceived by the unprincipled. They have no head for busi¬ 
ness, but only a desire for a quiet, passive, Arcadian life, unintellec¬ 
tual and absolutely harmless, until a poetic idea of justice shall 
rouse it, when its bigoted enthusiasm is as sublime as it is deplorable. 

A combination of the square and the conic will give us tli o finesse 
and cunning of the square type, with the demoralization of the conic, 
and the result will be a great hypocrisy and talent for deception. 

If your hand is at the same time square and spatulated, to the 
energy of the spatulate hand will be added the exactitude, the 
regularity of the square type. You will have the same love of 
colossal architecture, but will require it to be regular and arranged. 
You will have the talents of the tactician, of the strategist, of the 
diplomatist, and of the constructive scientist. Theory, method, and 
science will be the mainsprings of your activity. 

Squareness, confounding itself with spatulation, will give you a 
love of the minuthe of an intellectual existence. You will love to do 
your own menial work for yourself. You will have a wonderful 
practical knowledge, which will incline to a fanaticism of admira¬ 
tion for things which are practical and useful. 

These fusions are practically without limit, and it is the task of 
the cheirognomist, which of all others brings out his skill and apti¬ 
tude in the science of cheirosopliy, to decipher and properly to 
interpret them. Their prevailing character is always [as may be 
supposed] vivacity, ubiquity, plurality of pursuits and accomplish¬ 
ments, combined with laziness, insincerity, and want of application 

and perseverance. 

5 


243 . 

Elementary 
and psychic. 


244 . 

Square and 
conic. 

245 . 

Square and 
spatulate. 


246 . 

Square and 
spatulate. 


247 . 

General char¬ 
acteristics. 


SUB-SECTION III. 


248 , 

Preliminary. 


249 . 

Difference in 
the effects of 
types. 


250 . 

Jointed fin¬ 
gers. 

251 . 

Effects of the 
thumb. 


THE CHEIROGNOMY OF THE FEMALE HAND. 

All that lias been said in the preceding sub-section must [it 
should be understood] be taken to apply to woman as well as to 
man ; but at the same time the clieirosopliist must take into con¬ 
sideration the vast differences of constitution which exist between 
the sexes, and which, in fact, constitute the base of the relative 
positions in which they stand to one another. 

The characteristics of the more powerful types [such as the 
spatnlate and the square] will be much less developed with them 
than with men, by reason of the greater softness which always 
characterizes the hands of the “softer sex.” In like manner only 
very few women have knotty hands—a circumstance arising from 
that absence of physical and mental combination and calculation 
which, as a rule, characterizes their movements. Thus they work 
more by tact than by knowledge, more by quickness of brain than 
by rapidity of action, and more by imagination and intuition than 
by judgment or combination. 

When a woman has knotty fingers, she is less impressionable, 
less imaginative, less tasteful, less fantastic, and more reason¬ 
able. 

If a woman have a large thumb, she is more intelligent than 
intuitively quick. If she have a small thumb, she is quicker in 
expedient than intelligent in action. The first will have a taste for 
history, the second for romance. 


67 


The Cheirognomy of the Female Hand. 

With a large thumb, a woman will be sensible and cautious in 
affairs of the heart. Love is with her a “goodly estate” and not a 
passion. She will be sagacious, easy of conquest, or else unap¬ 
proachable. There is no medium, for she will never descend to 
coquetry or jealousy. 

If a woman have a small thumb, she will be more capricious, 
more coquette , more prone to jealousy, more fascinating, and more 
seductive than if she have a large thumb. If the rest of her hand 
is weak, her character may also be weak, uncertain, irritable, and 
careless ; now enthusiastic, now despondent and apathetic ; whilst, 
confiding and naive, it is impossible for her to keep a secret. With 
her, love is a passion, an emotion, powerful and fervid. She will 
demand an undivided fidelity, and a sentimental, romantic form of 
adoration. 

The elementary hand is hardly ever found amongst women. 
Their natural intelligence, the cares of maternity, the exquisite and 
complicated physical constitutions of women requiring*a higher 
instinct, a greater intuitive intelligence than is ever constitutionally 
necessary to man. Consequently, in countries where, amongst the 
men, the elementary type predominates, the women always have the 
upper hand, and direct the affairs of their husbands. 

Women who live only an objectless, butterfly life of pleasure, 

t 

love, and luxury, have small conic hands, soft and rather thick. 

English women, taking, as they do, so large a part in the admin¬ 
istration and arrangement of household affairs, have their fingers for 
the most part delicately squared. 

Women who have an innate curiosity have their fingers so much 
of different forms and shapes that, when the fingers are closed to¬ 
gether and held up against the light, there are chinks and crannies 
between them through which the light is visible. When, on the 
other hand, the fingers fit so tightly against one another as to show 


252 . 

Large 

thumb. 


253 . 

Small thumb. 


Weak hand. 


254 . 

Absence of 
the element¬ 
ary type. 


255 . 

Feeble 

hands. 

256 . 
English 
hands. 

257 . 

Female 

curiosity. 


68 


The Complete Palmist . 


258 . 

Spatulate 
fingers and 
small thumb. 


259 . 

Square 
fingers and 
small thumb. 


260 . 

Large 

thumb. 


261 . 


“ Pretty- 
hands. 




262 . 

Conic 

fingers. 


no light between them when so held up, it is a sign of avarice and 
meanness, or, at any rate, of want of generosity. And these last 
two indications apply equally to men [47]. 

Women with spatulate lingers and a little thumb are warm friends, 
affectionate and impulsive, unreserved and active, fond of exercise, 
of animals, and of witnessing feats of skill or strength. Their 
needlework is useful and complete rather than artistic and showy, 
and they like to manage and make much of children, whether their 
own or other people’s. 

With square lingers and a small thumb we get punctuality, order, 
and arrangement in household affairs, well regulated and neatly 
appointed, and a highly developed instinct of real life and of the 
things which make it tolerable. Square-lingered women require 
courtesy, order, and regulation in affairs of the heart; they like men 
to be distinguished without being eccentric, spirited without being 
wild, quiet,- self-confident, and self-contained, untinged by jealousy, 
or inconstancy ; they are particularly careful of social observance. 
If, however, the squareness is too pronounced, we find a fussy and 
irritating disposition. 

With a large thumb and square or spatulate fingers we find the 
tyrannical, “worrying” woman, impatient of control, loud-voiced, 
and abusive of power when it is intrusted to her. 

A little rosy, soft, smooth hand, thin, but not bony, and with 
little joints slightly developed, indicates a vivacious, sparkling little 
woman. To win her you must be bright, clever, witty, spontaneous, 
amusing; and sparkling, rather than romantic and sentimental, as 
von must be with the conic-fingered woman. 

With the latter you must be ardent, timid, self-assured, 
humble; explaining, excusing, justifying all things. Such wo¬ 
men are generally indolent, fantastic, and strongly inclined to 
sensuality. 


69 


The Cheirognomy of the Female Hand . 

With slight, smooth, pointed fingers, a small thumb, and a narrow 
palm, we find in the subject the highest romanticism and ideality as 
regards affairs of the world [for which they are eminently unsuited] 
and of the heart [in which their ideal is never attained]. Pleasure 
is with them more a matter of heart and soul than of physical 
emotion. They combine fervor and indolence, and they have the 
utmost disregard for the conventionalities and realities of life ; they 
are more prone to excessive piety and superstitious worship than to 
real devotion. Genius is a thing with them infinitely superior to 
common sense, and from the height of their radiant idealism they 
look down upon all intelligences of the beautiful in the abstract 
which are less sublime than theirs. 

With the data given above the student of cheirosopliy will easily 
learn to distinguish between the indications of identical formations 
according as he finds them on the male or on the female hand. 

Afterwards.— In the compass of three sub sections, the student 
has been presented with all such outlines as are necessary for him to 
learn, of the important first section of the science of cheirosopliy. 
A few moments’ reflection will convince him of the vital necessity 
for mastering this branch of the science of the hand, and of com¬ 
bining it inextricably with the practice of the more profound cheiro¬ 
mancy, to which we are about to turn. 

s 


263 . 

Small 

pointed 

hands. 


264 . 

Afterwards. 




Cheiromancy 




SECTION II. 


CHEIROMANCY ; OR, THE DEVELOPMENTS AND LINES OF THE PALM. 

Cheiromancy is that branch of the science of clieirosophy which 265. 
reveals not only the habits and temperaments of men, but also the * orewortls * 
events of their past, the conditions of their present, and the circum¬ 
stances of their future lives, by the inspection and interpretation of 
the formations of the palm of the hand, and the lines which are 
traced thereon. We have seen how necessary it is that in making a 
cheirognomic examination of a subject the inspection should be con¬ 
ducted with a due regard to the cheiromancy of the hands ; it will 
be seen immediately how much more important it is that the shapes 
of the hands and fingers should be considered in giving a cheiro- 

mantic explanation of any submitted palm. For what is clearer and 

•• 

more easily to be understood than that the character and tempera--** 
inent of a man [chiefly revealed by the cheirognomic examination of 
his hands] should very greatly influence, even if it does not abso¬ 
lutely bring about, the events which are recorded in his palms, so 
that a glance at the fingers and thumb will nearly always explain 
anything which appears doubtful in the palm, and by. making a 
preliminary cheirognomic examination of a subject, the cheiro- 
mantic examination will be rendered very much clearer and easier of 

interpretation. Therefore we combine cheirognomy with cheiro- 

. » 

mancy far more than cheiromancy with cheirognomy, with a view 
to rendering this exposition easier of remembrance. 

We shall consider in turn the mounts and the lines of the palm, 
with the signs and other modifications which it is necessary to bear 


74 


The Complete Palmist. 


266 . 

Astrologic 
names of the 
Mounts. 


in mind; but first, we must arrive at a complete understanding of 
the various parts of the hand, of the lines traced in the palm, and of 
the names by which they are known to cheirosophists.- 

The names given to the Mounts [those of the principal planets] 
are not given to them by reason of any astrologic signification which 
they were at one time supposed to bear, but because we have been 
accustomed to connect certain characteristics with certain gods of 
the pagan mythology, and because it is therefore convenient to give 
to the formations of the hand which reveal certain characteristics 
the names of the particular gods whose characteristics those were ; a 
principle obviously more reasonable than to describe geographically 
in every instance the locality [in the hand] of the formation which 
it is desired to designate; therefore it will be understood that in 
using these astrological terms, such as “The Mount of Venus” or 
“The Plain of Mars,” they are used to indicate the characteristic 
portrayed by a development of the hand at a certain point. 


/ 


SUB-SECTION I. 


AN EXPLANATION OF THE MAP OF THE HAND [PLATE VII.]. 

On Plate VII. you will find a complete map of tlie hand, whereon 
is written the specific and technical name given to each part thereof, 
the mounts being indicated in their proper position by the planetary 
signs [?. 2 1 . b. O. b. 6 . and D.] for the sake of brevity and 
clearness. 

The thumb is consecrated to Venus [ ? ], and at its base will be 
found the Mount of Venus, surrounded by the Line of Life. The 
base, or “ball” of the thumb, is frequently looked upon as a 
phalanx distinct from the hand, but, cheirosophically speaking, the 
thumb has but two phalanges, the base being termed the Mount of 
Venus. 

The first finger [or index] is that of Jupiter [2f ], and at its base 
[/.c., immediately below it, at the top of the palm] will be found the 
Mount, of Jupiter. 

The second finger [or middle finger] is that of Saturn [ b ], and the 
mount which should be found immediately below it is the Mount of 
Saturn. 

The third finger [or ring finger] is termed the finger of Apollo 
[O] [or of the Sun], and the Mount of Apollo will be found, if 
present, at its base. 

The fourth finger [or little finger ] is that of Mercury [ b ], whose 
mount will in like manner be found immediately beneath it. 

Just below the Mount of Mercury [between the Line of Heart and 
the Line of the Head] is the Mount of Mars [ $ ]. 


267 . 

The map of 
the hand. 


268 , 

The thumb 
and Mount 
of Venus. 


269 . 

First finger 
Jupiter. 

270 . 

Second finger 
Saturn. 


271 . 

Third finger 
Apollo. . 

272 . 

Fourth finger 
Mercury. 

273 . 

Mount of 
Mars. 


76 


The Complete Palmist. 


274 . 

Mount of 
Moon. 

275 . 
Plain of 
Mars. 


276 . 

The 

Triangle. 


277 . 

The 

quadrangle. 


278 . 

The rascette. 


279 . 

Line of Life. 

280 . 

Line of 
Head. 


281 . 

Line of 
Heart. 


282 . 

Line of 
Fortune. 


Underneath this lifst mount, and extending from it to the wrist, is 
found the Mount of the Moon [ D ]. 

The whole of the centre of the palm is occupied by the Plain or 
Triangle of Mars, which is comprised between the Line of Life, the 
Line of Head, and the Mounts of Mars and the Moon. 

This part of the hand is also called the triangle, and is composed 
of the upper angle— Le., that formed by the junction of the Lines of 
Life and of Head ; the inner angle— i.e., that formed by the junction 
of the Line of Head with the Line of Health or the Line of Fate, at 
the Mount of the Moon ; and the lower angle, which is formed by 

the approximation or junction of the Line of Life and the Line of 

• 

Health [when the latter is present]. 

The quadrangle is the rectangular space comprised between the 
Lines of Head and of Heart, and is generally bounded on the one 
side by the Line of Fate and on the other by the Line of Apollo. 

The rascette or restreinte is the point on the wrist at which it 
joins the hand, which is generally occupied by one or more lines, 
which are more or less apparent, the upper one of which is known as 
the rascette and the others as the restreintes, the whole forming 
what are called the Bracelets of Life. 

The lines generally found in the hands are as follows :—The Line 
of Life, which encircles the ball of the thumb, or Mount of Venus ; 

The Line of Head, which, starting from the beginning of the Line 
of Life [to which it is usually joined], between the thumb and first 
finger, runs straight across the hand ; 

The Line of Heart, which, starting from the Mount of Jupiter or 
of Saturn, runs across the hand immediately below the Mounts of 
Saturn, Apollo, and Mercury, ending at the percussion ; 

The Line of Fate or Fortune, which, starting either from the Line 
of Life, from the rascette, or from the Mount of the Moon, runs up 
more or less directly to the middle finger [the finger of Saturn ] ; 


An Explanation of the Map of the Hand. 77 


The Line of Health or Liver, which, starting near the wrist, at the 
base of the Line of Life, rises diagonally across the hand to meet the 
Line of Head, close to the Mount of Mars, or at the top of the 
Mount of the Moon ; and 

The Line of Art and Brilliancy, which, rising from the triangle or 
its vicinity, rises to the finger of Apollo [the third], cutting across 
the mount at its base. 

To these are added three lesser lines sometimes found in a hand, 
which are:—The Line of Mars, which lies close inside the Line of Life, 
which it follows as a sister line [426 and 444]; 

The ring or girdle of Venus, which encloses the Mounts of 
Saturn and of Apollo ; and 

The Via Lasciva, or milky way, which, rising from the wrist, 
traverses the Mount of the Moon. 

The principal lines are also known by other technical names, 
which [to avoid repetition] will sometimes be used in the folio wing- 
pages. Thus the Line of Life is also called the Vital. The Line of 
Head is also called the Natural. The Line of Heart is also called the 
Mensal. The Line of Fortune is also called the Saturnian. The Line 
of Art, or Brilliancy, is also called the Apollonian, and the Line of 
Health is often known as the Hepatic. 

The ancient Cheiromants used also to consider the twelve 
phalanges of the fingers as representing the twelve signs of the 
Zodiac, and used therefrom to predict the seasons at which certain 
events would come to pass. This is a branch of cheirosophy which, 
it is needless to say, is now obsolete, having been refined away 
with the rest of the dross which used to disguise the pure metal of 
the science ; but they have been put into the diagram, as they may 
be interesting to my readers. 

Having, therefore, mastered what may be called the geography 
of the hand, we can now turn to the consideration of the cheiro- 


283 . 

Line of 
Health. 


284 . 

Line of 
Apollo. 


285 . 

Line of Mars. 


286 . 

Girdle of 
Venus. 

287 . 

Via Lasciva. 

288 . 

Equivalent 

names. 


289 . 

The signs of 
the Zodiac. 


290 . 

Cheiro¬ 

mancy. 


78 


The Complete Palmist. 


291 . 

Modus 

operandi. 


mancy of the hand, commencing with the mounts, and continuing 
with the lines; but before entering into the minute discussion 
and examination of each particular mount and of each particular 
line, I wish to devote a sub-section to the enunciation of certain 
general principles, which, applying to all mounts and lines equally, 
must be carefully borne in mind throughout every cheiromantic 
examination. 

The modus operandi of clieirosophy, or the method in which 
the Cheirosophist should proceed when he undertakes the exami¬ 
nation of a subject, has been relegated to the conclusion of this 
work, it being thought advisable to present a thorough knowledge 
of the branches of clieirosophy before presenting the principles of 
practice. 


SUB-SECTION II. 


GENERAL PRINCIPLES TO BE BORNE IN MIND. 

CHAPTER I. 

As to the Mounts. 

Tiie mount which is the highest in the hand will [as we shall 
see] give the keynote to the character of the subject, and will be 
the first thing sought for ; and when the characteristics are thus 
pronounced by the development of a particular mount, the lesser 
[but still noticeable] develojmient of another mount will indicate 
that the characteristics of the lesser will influence those of the 
greater, modifying, and in a manner perfecting, those of the 
reigning development. 

You will seldom find that a subject has only one mount 
developed, and you must bear in mind in all cases that the modi¬ 
fying characteristics must be considered in reading the primary 
indications of the principal mount. 

A characteristic betrayed by a prevailing mount can never lie 
dormant in a subject; opportunities for exercising the qualities indi¬ 
cated will always arise, for the subject will, in a way, make them 
himself— e.g., a man whose leading mount is that of Mars will, by 
provoking others, call the talents of his character into play. 

If a subject have no particularly prominent mount in his hand— 
i. e ., all the mounts are equal—you will find a singular regularity of 
mind and harmony of existence to be his lot. 


292 . 

The leading 
mount and 
the lesser 
mounts. 


293 . 

Modifying 

indications. 


294 . 

Action of a 
quality. 


295 . 

Equality of 
the mounts. 


80 


The Complete Palmist. 


2S6. 

Absence of 
any mount 
at all. 


297 . 

Other indica¬ 
tions of the 
leading 
mount. 

Excess. 


298 . 

Lines on a 
mount. 


299 . 

Cross lines on 
a mount. 


300 . 

Capillary 
cross lines. 


If all tlie mounts are null, and the places where they should be 
are merely occupied by a plain or a hollow, you will find that the 
subject lias never had any opportunity of developing any particular 
characteristic, and the life will be a purely negative one. 

A mount may, instead of being high, be broad and full, or it may 
be covered with little lines. These conditions of the mount give it 
the same effect as if it were highly developed ; and it must be re¬ 
marked that, if a mount is much covered by lines, it will betray an 
excess and over-abundance of the qualities of the mount, which 
prove an insurmountable obstacle to the good effects thereof. Ex¬ 
cess of amount does not gi ve force, but fever to its quality, produc¬ 
ing monomanias, especially if the thumb and Line of Head are weak. 

One line upon a mount just emphasizes it enough to be a fortu¬ 
nate sign upon it; two lines show uncertainty in the operation of the 
qualities, especially if they are crossed; and three , except in some 
rare cases, give misfortune arising from the qualities of the mount, 
unless they be even, straight, and parallel. If no other mount is 
developed, the one upon which most lines are found will be the 
leading mount in the hand. 

Lines placed crosswise upon a mount always denote obstacles, 
and seriously interfere with the goodness of other main lines, which 
end upon the mount, as in the cases of the mounts and lines of 
Saturn, or of Apollo, unless the ascending line is deeper than the 
cross lines, in which case the evil indications of the cross lines are 
destroyed. 

De Peruchio affirms that little capillary cross lines upon a mount 
signify wounds ; thus on the Mount of Jupiter they signify a wound 
to the head; and on that of Saturn, to the breast; on that of Apollo, 
to the arms ; on that of Mercury, to the legs ; and on that of Venus, 
to the body. Some strange confirmations of this statement have 
been encountered, but such instances are rare. 


As to the Mounts. 


81 


Thus it will be seen that the indications afforded by any particular 
mount may be greatly modified, if not annulled, by the appearance 
of lines upon it, or in its immediate vicinity, so that these must be 
carefully sought for and examined concomitantly. 

It will be very frequently found that the mounts are not exactly 
under the fingers, but lean, as it were, in the direction of the neigh¬ 
boring mount. In such cases the prevailing development takes a 
modification from that towards which it inclines. 

Finally, the influence of the mount which is principally de¬ 
veloped may be either good or bad ; this may be determined by 
inspecting the formation of the tips of the fingers, the consistency 
of the hand, and the development of the thumb. Thus, pointed 
fingers reveal an intuition, a lofty idealism of the quality. Square 
fingers will look at the reasonable aspects of character, and spatu- 
late will cultivate the material qualities of the mount— e.g ., Jupiter 
developed will indicate, with pointed fingers, religion; with square 
fingers, pride ; and with spatulate fingers, tyranny. Apollo de¬ 
veloped will indicate, with pointed fingers, love of glory; with 
square fingers, realism in art; and with spatulate fingers, love of 
wealth and luxury. And so on with the other mounts. 

Many writers have gone into the phrenological and physiog¬ 
nomical characteristic of each type, but as this is not only 
confusing, but irrelevant to the study of pure cheiromancy, the con¬ 
sideration of this matter has been avoided. 

G 


301 . 

Modifica¬ 
tions by lines. 


302 . 

Displace¬ 
ment of the 
mounts. 


303 . 

Good or bad 
influences of 
a mount. 


304 . 

Phrenology 
and physiog¬ 
nomy. 


CHAPTER II. 


305 . 

Proper ap¬ 
pearance. 


306 . 

Pale lines. 


307 . 

Red lines. 

308 . 

Yellow lines. 


309 . 

Livid lines. 


310 . 

Black spots 
on a line. 


As to the Lines . 

The lines in a hand should be clear and apparent. They should 
be neat and well colored [not broad and pale], free from branches, 
breaks, inequalities, or modifications of any sort, except in some 
few cases, which will be pointed out in due course. A broad pale 
line always signifies [by indicating excess] a defect of, and obstacle 
to, the natural indications and qualities of the line. 

Pale lines signify a phlegmatic or lymphatic temperament, with 
a strong tendency towards effeminacy [women nearly always have 
very pale lines]. Such subjects are easily put out, and as easily 
calmed again; they are generally liberal, and subject to strong 
enthusiasms, which are of short duration. 

Red lines indicate a sanguine temperament, and are good; such 
subjects are gay, pleasant in manner, and honest. 

Yellow lines denote biliousness and feebleness of the liver ; such 
subjects are quick-tempered, prompt in action, generally ambitious, 
vigilant, vindictive, and proud. 

Livid lines, with a tendency towards blackishness, betray a 
melancholy and often a revengeful disposition. Such subjects are 
grave in demeanor and cunning in character, affable, but haughty; 
and these indications are the more certain if the fingers are long and 
the thumb is broad. 

Black spots upon a line indicate always nervous diseases, whilst 
livid holes betray the presence of an organic affection of the part 
corresponding with the line [Fig. 1, Plate VIII.]. 


Fig. I. Spots upon a line. 


Fig. Z. Sister Lazes. 




Fig. 3. Forked Terminations 



Fig. 4. TasselLed Terminations. 






Fig.7. May Lines. Fig. 3. Broken Lines 



Fig. 9. CapilLariecL lines. 


Conditions of the lines. 

. ■ .'t- 1 ■ .. ,a > 


PLATE VIII. 























As to the Lines. 83 

It must be noted that, however well colored lines may be, a 
feeble development of the mounts will counteract their good indi¬ 
cations. 

The ancient cheiromants used to affirm that people who had been 
born in the daytime had the lines clearer marked in the right hand, 
whilst those who had been born in the night had them more 
apparent in the left. 

It must also be noted that lines may enlarge, diminish, and even 
disappear, so that the province of the cheirosophist is [709] to indi¬ 
cate the present condition and indications of the lines, and the like¬ 
lihood of their future modification. There is one thing to be noted 
in connection with this matter, which is, that the indications of 
cunning never alter or become modified ; cunning being a charac¬ 
teristic which is acquired, and a characteristic thus acquired is 
never lost by a weak character on account of inability to free itself, 
nor by a strong one from a disinclination to do so. 

Again, in reading the lines a single indication must never be 
accepted as final, especially if it is a bad one. To make any indi¬ 
cation certain [whether good or bad] corroborating signs must be 
sought for in both hands, and the absence of corroboration in one 
hand will contradict, or at any rate greatly modify, any evil sign in 
the other. A single sign only affords a presumption of the tend¬ 
ency or event which it indicates, and the cause of the danger must 
be found in the aspect of the mounts, and other lines of the palm, 
or the development and formations of the whole hand. In the same 
way, the indication of prudence in the second joint of the thumb will 
go far towards modifying an evil prognostic which may be found in 
the palm. 

When any principal line is accompanied throughout its course 
by a second line lying close to it, the principal line is greatly 
strengthened and benefited by this “sister line,” as it is called. 


311 . 

Feeble 

mounts. 

312 . 

Persons born 
by night or 
by day. 


313 . 

Alteration of 
lines. 


314 . 

Necessity for 
appearance 
of indications 
in both 
hands. 


315 . 

Sister lines. 


316 . 

Very many 
lines in the 
palm 


317 . 

Fork at the 
end of a line. 


318 . 

Tassel led at 
end. 

319 . 

Ascending 
and descend¬ 
ing branches. 


320 . 

Chained 

lines. 

321 . 

Wavy lines. 


84 The Complete Palmist. 

The consecutiveness of the sister will contradict the evils foreshad¬ 
owed by a break in the principal line [420], but if both are broken, 
the evils are the more certainly to be feared [Fig. 2, Plate VIII.]. 

If the hand is covered with a multiplicity, a network of 
little lines which cross one another in all directions, it betrays 
a mental agitation and dissatisfaction with one’s surroundings, 
and one’s self. It is always the outcome of a highly nervous 
temperament ; and in a soft spatulate hand these little lines de¬ 
note hypochondria. 

A fork at the end of a line is often a good sign, for it increases 
the powers of the lines without carrying them too far. At the same 
time, it often indicates a duplicity in connection with the qualities 
of the line [484] [Fig. 3]. 

When the fork is reduplicated so as to form a tassel at the 
end of the line, the indication is bad, denoting feebleness and 
nervous palpitation of the organ represented [Fig. 4]. 

All branches rising from a line increase its good indications, 
whereas all descending branches accentuate its bad qualities. 
Ascending branches indicate richness, abundance of the qualities 
appertaining to a line ; thus on the Line of Heart they denote warmth 
of affection and devotion ; on the Line of Head they denote cleverness 
and intelligence ; on the Line of Saturn they denote good luck, and 
so on. These branches, when present, are nearly always found at 
the beginnings and endings of lines [Fig. 5]. 

A chained formation of a line indicates obstacles, struggles, and 
contrarieties of the characteristics afforded by it [Fig. 6]. 

A wavy formation [Fig. 7] of a line signifies ill-luck, as does 
also a break in it. Breaks may be either simple interruptions 
or cessations of the line, or bars across it: They are always a 
bad sign, and the interrupting influence must be carefully sought 
[Fig. 8]. 


* 


y 

Fig. 10. 

Fig.U. 

Fig. 1Z. 

The Star 

The Square 

The Spot 

V 


% 

Fig. 13- 

Fig. 11- 

Fig. IS. 

The Circle 

7%e Island 

Tie Triangle 



Fig-IS. Fig. 17. 

The Cross 77ie Grille, 


Signs loiznd in Ike a and. 

PLATE IX. 





85 


As to the Lines . 

When a line, instead of being single and clear, is composed of a 
number of little capillaries, which here and there, or at the ends, 
unite to form a single line, it betrays obstacles and ill-snccess, in the 
same way as chained lines [Plate VIII., Fig. 9], 


322 . 

Capillaries. 


SUB-SECTION III. 


323 . 

The prevail¬ 
ing mount. 


THE MOUNTS OF THE HANDS. 

The prevailing mount is the first thing to be observed in the 
palm of a hand, and it must be sought for with a careful regard to 
the general principles laid down in Sub-section II. In this sub-sec¬ 
tion we shall carefully consider the indications afforded by each 
mount in succession, as well as those of some of the principal com¬ 
binations of mounts. 


CHAPTER I. 


The Mount of Jupiter [2£]. 


The predominance of this mount in a hand denotes a genuine and 
reverential feeling of religion, a worthy and high ambition, honor, 
gayety, and a love of nature. It also denotes a love of display, of 
ceremony, and of pomp, and is, consequently, generally developed 
in the hands of public entertainers of any sort. Such subjects talk 
loudly, are extremely self-confident, are just and well-minded, 
gallant and extravagant, and are always impetuous without being 
revengeful. These subjects are fond of flattery and fond of good 
living. They generally marry early, and are always well-built and 
handsome, having a certain hauteur , which enhances their charms 
without detracting from their good nature. 

An excessive development of the mount will give arrogance, 
tyranny, ostentation, and, with pointed fingers, superstition. Such 
subjects will be votaries of pleasure, and vindictive, sparing nothing 
to attain their selfish ends. 

If the mount is absent [i.e., replaced by a cavity] the subject is 
prone to idleness and egoism, irreligious feelings, want of dignity, 


324 . 

Indications 
of the mount. 


325 . 

Excess of the 
mount. 


326 , 

Absence of 
the mount. 


and a license which degenerates into vulgarity. 

The development of this mount gives to square fingers a great 327 . 
love of regularity and established authority. To long smooth ^^Lnooih' 
fingers it imparts a love of luxury, especially if the fingers are large fin s ers - 
at the third phalanx [41]. This mount ought always to be accom¬ 
panied by a smooth, elastic, firm hand [not too hard], with a well- 
developed first phalanx to the thumb [Will]. 


88 


The Complete Palmist. 


328 . 

Influence of 
Saturn. 


329 . 

Lines on the 
mount. 


330 . 

Cross and 
star on the 
mount. 

331 . 

Spot. 

332 . 

Its religion. 


333 . 

Displace¬ 
ment of the 
mount. 


334 . 

Combina¬ 
tions of the 
mount with 
others. 


Mars. 


If to the good indications of tliis mount a favorably developed 
finger, or Mount of Saturn, be added, the success in life and good 
fortune of tlie subject is certain; Saturn denoting fatality, whether 
for good or evil. 

A single line upon the mount indicates success. Many and con¬ 
fused lines upon the mount betray a constant, unsuccessful struggle 
for greatness, and if these confused lines are crossed, they denote 
unchastity, no matter which the sex of the subject. 

A cross upon the mount denotes a happy marriage, and if a star 
be found there as well as the cross, it indicates a brilliant and ad¬ 
vantageous alliance. 

A spot upon the mount indicates a fall of position, and loss of 
honor or credit. 

A long thumb and a development of the first joint in the lingers 
will give to this mount free thought and irreverence in religion. If, 
besides these, we find pointed fingers and what is called the “ Croix 
Mystique,” you will find ecstasy in matters religious, tending even 
to fanaticism. 

If, instead of being in position immediately underneath the finger 
of Jupiter [or forefinger], the mount is displaced and inclines to¬ 
wards that of Saturn, it acquires a serious tone and demeanor, and 
gives a desire for success in science, theology, or classical scholarship. 

If with the Mount of Jupiter we find also the Mount of Apollo 
[O] developed, it indicates good fortune and wealth. Combined 
with the Mount of Mercury [ § ], we find a love of exact science and 
philosophy. ,Such subjects are inclined to be poetic, are well be¬ 
haved and clever ; they make the most successful doctors. To a bad 
hand this combination will give vanity, egoism, a love of chatter, 
fanaticism, charlatanry, and immorality. Combined with the Mount 
of Mars [ $ ] it gives audacity and the talent of strategy. Such sub¬ 
jects are self-confident, successful, and fond of celebrity. To a bad 


The Mount of Jupiter. 


89 


hand such a combination gives insolence, ferocity, revolt, dissipa¬ 
tion, and inconstancy. A combination of the Mounts of Jupiter and Moon, 
of the Moon [2>] makes a subject honorable, placid, and just. With Venus, 
the Mount of Venus [?] a subject of this Jupiterian type becomes 
sociable, simple-minded, gay, sincere, fond of pleasure, and gener¬ 
ous. If the hand is, on the whole, bad, the combination will denote 
effeminacy, feeble-mindedness, caprice, and a love of debauch. 


CHAPTER II. 


335 . 

Effects of 
the mount. 


336 . 

Excessive de¬ 
velopment of 
the mount. 


The Mount of Saturn [A]. 

The predominance of this mount in a hand denotes a character 
in which to prudence and natural caution is added a fatality* for 
good or evil, which is extreme. Such subjects are always sensitive 
and particular about little things, even though their lingers be short 
[26-27]. The mount also denotes a tendency to occult science, to 
incredulity, and to epicureanism of temperament. Such subjects 
are always inclined to be morbid and melancholy. They are timid, 
and love solitude, and a quiet life in which there is neither great 
good fortune nor great ill fortune ; they are also fonder of serious 
music than of gay melody. They take naturally to such pursuits as 
agriculture, horticulture, or mineralogy, having a natural penchant 
for anything connected with the earth. These subjects seldom 
marry, are extremely self-centred and self-confident, and care 
nothing for what other people may think of them. 

The mount is seldom very high, for fatality is always, to a certain 
extent, modifiable ; but when there is an excess of formation on this 
mount it betrays taciturnity, sadness, an increased morbidity and 
love of solitude, remorse and asceticism, with the horrible opposing 
characteristics of an intense fear and horror of death, with a morbid 
tendency to, and curiosity concerning suicide. The evil indications 
of an excessive development may be greatly modified by a well- 
formed Mount of Venus [ ? ]. 

* By fatality is meant certainty , i.e the indications of the middle finger are always 
looked upon as certain and unavoidable. 


The Mount of Saturn. 


91 


The Saturnian hand has generally long, bony lingers, which give 
it philosophy, the second linger [that of Saturn] is large, with the 
first [or nailed] phalanx highly developed, the mount, if not high, 
being generally strongly lined. A bad Saturnian hand has a hard, 
rough skin and a thick wrist. 

If the mount is quite absent the indication is of an insignificant, 
“vegetable’’ existence, unmoved by any great depth of feeling, and 
one which is continually oppressed by a sense of misfortune. But 
when it is thus absent it may be replaced by a well-traced Line of 
Fate [or Saturn]. 

A single straight line upon the mount signifies good fortune and 
success, whilst a plurality of lines thereon indicates a proportionate 
ill-luck. A succession of little lines placed ladder-wise across the 
mount and extending upon that of Jupiter indicates an easy and 
gradual progression to high honor. 

A spot upon the mount always indicates an evil fatality, the 
cause of which must be sought for upon the Lines of Head or 
of Fate. 

If a branch [not the end of the Line of Heart or of Saturn] rises 
from the Line of Heart on to the Mount of Saturn, it denotes worry, 
travail, and anxiety ; if the branch is clean and single, however, it 
will foreshadow wealth as a result of those anxieties [l, in Plate X.]. 

If, instead of being in its proper position beneath the second 
finger, the mount is displaced towards Jupiter, it has'the same sig¬ 
nificance as the displacement of the Mount of Jupiter towards 
Saturn [333]. If, on the other hand, it is displaced towards the 
Mount of Apollo, it betokens a fatality which can be, and must be, 
’striven against. 

If, together with the Mount of Saturn, we find the Mount of 
Jupiter developed, we shall find gentleness, patience, and respect in 
a good hand, or want of appreciation, inability to make nse of 


337 . 

“ Saturnian ” 
hand. 


338 . 

Absence of 
the mount. 


339 . 

Lines on the 
mount. 


340 . 

Spot on the 
mount. 


341 . 

Branch from 
the Line of 
Heart. 


342 . 

Displace¬ 
ment of the 
mount. 


343 . 

Combination 
with other 
mounts. 


Mercury. 


344 . 

Further com¬ 
binations. 
Mars. 

Venus. 


Moon. 


92 The Complete Palmist. 

opportunities, melancholy, hysteria, and want of taste in a bad 
hand. Combined with that of Mercury this mount gives us anti¬ 
quarian research, and love of science from an “amateur” point of 
view, a talent for medicine, and a desire for information on various 
subjects. Such subjects are clever at individualizing and classing, 
and are generally happy. And this latter indication generally holds 
good even when the rest of the hand is bad, in which case the com¬ 
bination of Saturn and Mercury gives us perfidy, perjury, sullen 
temper, revenge, theft, want of filial affection, and charlatanry. 

With the Mount of Mars equally developed this mount be¬ 
tokens aggressiveness, bitterness of humor, a false superiority, inso¬ 
lence, immodesty, and cynicism. The combination of the Mounts 
of Venus and Saturn will give us a love of and a search after truth 
in matters occult, piety, charity, logic, self-control, with a tend¬ 
ency to jealousy and love of display. If the hand is bad the com¬ 
bination will betray frivolity, curiosity, and, if the Mount of Saturn 
be the more strongly developed of the two, we shall find pride, 
envy, and debaucherv. When the Mounts of the Moon and of 
Saturn find themselves equally developed in a hand, we have a sub¬ 
ject whose intuition and pure talent for occultism is remarkably 
developed. It is a curious fact that these latter subjects are 
generally frightfully ugly. 



CHAPTER III. 


The Mount of Apollo [O]. 

A has id in wliicli this mount is developed is essentially that of a 
subject whose prevailing tastes and instincts are artistic, and it 
always gives to its possessor a greater or a less degree of success, 
glory, celebrity, and brilliancy of fortune, denoting, as it does, 
genius, intelligence, tolerance, and wealth, the characteristics of the 
type being self-confidence, beauty, grace, and tolerance in all 
things. 

Such subjects are inventive and imitative, being often great dis¬ 
coverers. Their principal failings are, quick temper [though not of 
long duration] and a certain incapacity for very close friendships, 
though they are generally benevolent and generous, even devoted, 
were it not for the inseparable strain of fickleness. Proud, and elo¬ 
quent on matters of art, they love anything which is brilliant, such 
as jewelry and the more ornamental forms of worship, for they are 
religious from a gratitude for blessings received rather than from a 
superstitious reverence. They make stern and unrelenting judges, 
and their love is more affectionate than sensual. 

These Apollonian subjects love to shine before the world, and not 
to be the cynosure of a small circle of admirers, though they hate 
the idea of ostentation or undeserved glory ; they will not explain 
themselves in dogmatizing unless they think their audiences are 
sympathetic, refusing to waste words on ignorant cavillers, or to 
persuade people to accept their opinions. In marriage they are, un- 


345 . 

Fortune of 
the mount. 


346 . 

Indications 
of the mount. 


347 . 

Further in¬ 
dications. 


94 


The Complete Palmist. 


348 . 

“ Apolloni¬ 
an ” hand. 


349 . 

Excess of the 
mount. 


350 . 

Absence of 
the mount. 


351 . 

Lines of the 
mount. 


352 . 

Develop¬ 

ment. 


353 . 

Spot on the 
mount. 

354 . 

Combination 
with other 
mounts. 
Mercury. 


fortunately, very often unlucky, for their ideal, their standard of 
excellence, is unreasonably high. 

The normal development of a hand bearing this mount high 
shows smooth fingers, with the tips mixed or slightly squared, the 
palm of an equal length with the fingers, a well-marked phalanx of 
logic, and either one very deep, or three strong lines upon the 
mount. 

If the mount is developed to excess it indicates a love of wealth 
and of extravagance in expenditure, instincts of luxury, fatuity, 
envy, and curiosity, a quick, unreasoning temper, and a strong 
tendency to levity, frivolity, and sophistry. Such subjects are 

boastful, vain, think themselves unappreciated, but highly superior 

• 

to their fellow-men. This excessive development is generally 
accompanied, and is emphasized by, twisted fingers, spatulated soft 
hands, a grille [596] on the mount, with a long phalanx of will and 
proportionately short phalanx of logic. 

If, on the other hand, this mount is absent in both hands, its ab¬ 
sence betrays materiality and indifference to matters artistic, giving 
a dull, unenlightened life. 

A single line deeply traced upon the mount indicates fortune and 
glory ; two lines indicate considerable talent, but a great probability 
of failure, whilst many confused lines show a tendency to lean to the 
scientific aspects of art. 

If the mount is merely developed , having no line marked upon it, 
it shows a love of the beautiful, but not necessarily a talent for pro- 
duction of works of art. 

A spot upon the mount denotes a grave danger of a loss of repu¬ 
tation or caste. 

When in a hand the Mounts of Apollo and of Mercury are found 
equally developed, we find a character in which justice, firmness, 
perspicacity, love of scientific research, combined with clearness of 


The Mount of Apollo. 95 

diction and eloquence, are salient features. Tlie combination of 
Apollo and the Moon gives good sense, imagination, reflection, and Moon, 
light-lieartedness. With an equal development of the Mount of 
Venus, we get amiability and a great desire to please. Venus. 


CHAPTER IV. 


355 . 

Indications 
of the mount. 


356 . 

Eloquence. 


357 . 

Further 

indications. 


The Mount of Mercury [$]. 

The preeminence in a hand of this mount indicates science, in¬ 
telligence, spirit, eloquence, a capacity for commerce, speculation, 
industry and invention, agility, promptitude in thought and action, 
and a penchant for travel and occult science. 

[The eloquence which is one of the prevailing characteristics of 
the type is of a kind denoted by the formation of the fingers. A 
high Mount of Mercury will give, with pointed fingers, brilliant 
oratory ; with square fingers, clearness and reason in expounding; 
with spatulate fingers, force and vehemence in argument and 
dogma; with long fingers, details and parentheses ; and with short 
fingers, brevity and conciseness. The great difference between the 
eloquence of these subjects, and of those whose prevailing mount 
is that of Apollo, is that the oratory of the former is sophistical 
and clever, rather than naive and direct like that of the latter ; it 
is this that makes them such good barristers. To assist their 
faculties in this respect still further, these subjects should always 
have short nails (116)]. 

Such subjects are good athletes, are agile, clever at games of skill, 
spontaneous in expedients, sharp in practice, with a great capacity 
for serious studies. Combined with these qualities we generally 
recognize envy, but amiability therewith ; often [the other conditions 
of the hand being favorable] we find that these subjects are clever 
clairvoyants, seldom sensual, and generally good-humored, and fond 
of playing with children so long as they are not otherwise seriously 


97 


The Mount of Mercury. 

employed. This tendency to envy, by raising envious feeling at the 
aptitudes and successes of others, constantly drives these Mercurial 
subjects to take up and try a great variety of pursuits. 

These subjects are great matchmakers, and frequently marry 
very young, choosing equally young persons for their helpmates. 

The normal development of the hand which accompanies this 
mount is as follows : Long, smooth fingers, hard, slightly spatu- 
lated [athletics], or very soft with mixed tips [thought] ; the finger 
of Mercury long and sometimes pointed ; the high mount cut by a 
deep line, and the philosophic joint developed. 

If the mount is developed to excess in a hand, it denotes theft, 
cunning, deceit, treachery, with pretentious ignorance. Such 
subjects are charlatans, running after the false and dishonest 
forms of occultism, and are generally superstitious. These hands 
usually have long twisted fingers, more or less turned back; 
soft hands, confused markings on the mount, and the phalanx of 
will long. 

A complete absence of the mount denotes inaptitude for science 
or for commercial enterprise. 

A single line upon the mount indicates modesty and moderation, 
and in many infiances a strange, unexpected stroke of good fortune. 
A cross line extending upon the Mount of Apollo betrays charla¬ 
tanry in science, and, in fact, the dishonest occultism alluded to 
above [360]. If this line have an “island” [573] in it and cut 
the Line of Apollo or Brilliancy, it denotes ill-luck, probably result¬ 
ing from some perfectly innocent act. 

Many mixed lines upon the mount denote astuteness and aptitude 
for sciences. If they reach as low as the Line of Heart, they denote 
liberality ; and if to numerous rays on this mount a subject join a 
high Mount of the Moon, his penchant for medical science will take 
the form of hypochondria. The elder clieiromants have affirmed 


358 . 

Marriage. 

359 . 

Normal de¬ 
velopment of 
the type. 


360 . 

Excess. 


361 . 

x\bsence. 

362 . 

Lines on the 
mount. 


363 . 

Rayed 

mount. 


The Complete Palmist. 


» 


364 . 

^ines on the 
side of the 
hand. 


365 . 

Smooth 
mou nt. 

Grille. 

Circle. 

Spot. 

366 . 

Effect of 
Apollo. 


367 . 

Displacement 
of the mount 


368 . 

Connected 
with ? 


98 

that a woman having this mount well rayed is sure to marry a 
doctor, or, at any rate, a man of science. If the lines on the 
mount merely take the form of little Hecks and dashes, it is a 
practically sure indication of a babbling, chattering disposition. 

Lines on the percussion— i.e., on the edge of the hand, between 
the base of the little finger and the line of heart—indicate liaisons , 
or serious affairs of the heart if horizontal [i.e., parallel with the 
line of the heart], each line denoting a separate liaison or love 
affair, a single deep line denoting one strong and lasting affection. 
If vertical they denote, almost invariably, the number of children 
which the subject has had. De Peruchio lays down the rule that if 
ttiey are strong they denote boys, if faint girls; and if they are 
short or indistinct the children are either dead or not yet born. 
Several vertical lines on the percussion, crossed by a line which 
starts ffom a star upon the mount, betray sterility, whilst a mar¬ 
riage line, ending abruptly by a star, indicates a marriage or liaison 
of short duration, terminated by death. 

The mount quite smooth and unlined indicates a cool, deter¬ 
mined, and constant condition of mind. A grille upon the mount is 
a dangerous prognostic of a violent death, a circle ibso placed upon 
the mount indicating that it will be by water. M spot upon the 
mount indicates an error or misfortune in business. 

If the mount is high, and the hand contains a long line of 
Apollo, the commercial instinct will work itself out in speculation 
rather than in recognized and persevering commerce. 

The mount leaning, as it were, towards that of Apollo is a good 
sign, good enough to counteract a bad Line of Saturn, betokening 
science and eloquence. Leaning in a contrary direction [i.e., towards 
the percussion] it indicates commerce and industry. 

Connected with the Mount of Venus by a good line, [ee, in Plate 
X.], this mount gives happiness and good fortune. 



PLATE X.—LINES UPON THE MOUNTS OF THE PALM. 




































































































































































































































































































































































































































99 


The Mount of Mercury. 

Combined equally developed] with the Mount of Venus, we 
find wit, humor, gayety, love of beauty, often piety, easy and sympa¬ 
thetic eloquence. In a bad hand [i.e., if the fingers are twisted, the 
Line of Head weak, and the phalanx of will small] this combination 
will give inconsequence, contradiction, meddlesomeness, inconstancy, 
and want of perseverance. The combination of Mercury and Saturn 
in a hand is always good, giving to the sobriety and fatality of 
Saturn a certain intuitive practicality which seldom fails to give 
good results. The Mount of Mercury is, however, one which is not 
often combined with the other mounts of the hand. 


369 . 

Combination 
with other 
mounts. 
Venus. 


Saturn. 


LrfC. 


CHAPTER Y. 


The Mount of Mars [ S ]. 


370 . 

Construction 
of the Mount 
and Plain 
of $ . 


Interpreta¬ 

tion. 


371 . 

Characteris¬ 
tics of the 
mount. 


372 . 

Its indica¬ 
tions. 


The discussion of the Mount of Mars is not fraught with that 
simplicity which characterizes that of the other mounts. It is, in a 
manner, divided into the Mount of Mars, properly so called, which is 
situated, as may be seen, beneath the Mount of Mercury, on the per¬ 
cussion of the hand ; and that development or extension of the 
mount into the palm of the hand [shown in Plate VII. by a dagger] 
which is known as the Plain of Mars. It will be seen that a devel¬ 
opment of the Mount of Mars becomes the Plain of Mars, by the 
swelling it produces in that part of the palm occupied by the Tri¬ 
angle [275-6] ; and as the Plain of Mars is treated of in the remarks 
upon the Triangle, but little notice need be taken of it here. The key¬ 
note of the whole question may be struck by bearing in mind that the 
Mount of Mars denotes resistance, whereas the Plain of Mars betrays 
action and aggression. This will be more fully demonstrated 
later on. 

The main characteristics indicated by a development of the 
Mount of Mars are courage, calmness, sangfroid in moments of emer¬ 
gency, resignation in misfortune, pride, resolution, resistance, and 
devotion, with a strong capacity to command. 

Well developed and not covered by lines or rays, this mount 
will counteract the evil influences of a short thumb by the calmness 
and resignation which it imparts to a character. Such a subject 
[especially if his thumb be large] possesses, to a marked extent, the 
capacity for keeping his temper. He will be magnanimous and gen- 


The Mount of Mars. 


101 


erous to extravagance, loud of voice, and hot-blooded ; his passions 
carrying him even to sensuality, unless counteracted by a strong 
phalanx of logic. His eloquence, if he possess that faculty, rare 
among subjects of this type, will be of the fascinating rather than 
the emotional description. Spatulate lingers will give to this 
mount a love of show and self-glory. 

These subjects have always a great natural inclination to love, 
though they nearly always marry late in life, and marry women of 
the type of Venus [402-3]. These two types seem to have a 
natural inclination for one another. 

The hand to which these Martial mounts belong are generally 
hard, the lingers large, especially at the third phalanx, the will 
long, and the logic small, the hollow of the hand [Plain of Mars] 
rayed and lined. 

An excessive development of this mount [/.c., a spreading of 
the mount into the palm, “the Plain of Mars”], or a mass of lines 
upon the mount, Avill indicate brusquerie , fury, injustice of mind, 
insolence, violence, cruelty, blood-thirstiness, insult, and defiance 
of manner. Lines on the mount always denote hot temper. This 
excessive development generally betrays lasciviousness, and exag¬ 
geration in speech. 

The Plain of Mars highly developed or covered with lines indi¬ 
cates a love of contest, struggle, and war, especially if the nails be 
short [146] and a cross [586] be found in the plain. This network 
of little lines in the Plain of Mars always indicates obstacles in the 
way of real good fortune. 

Th ese hands of the excessive type have generally a feeble Line of 
Heart often joined to the Line of Head, the Line of Life red in color, 
and the thumb short and clubbed. 

If the mount be completely absent, its absence denotes coward¬ 
liness and childishness. 


373 . 

Marriage, 
6 — ?. 


374 . 

Aspect of the 
hand. 


375 . 

Excess and 
lines on the 
mount. 


376 . 

Lines on the 
mount. 


377 . 

Excessive 
type of $ . 

378 . 

Absence. 


379 . 

Tradition. 


380 . 

Combina¬ 
tions with 
other mounts. 
Apollo. 
Moon. 

Venus. 

Mercury. 


Saturn. 


102 The Complete Palmist. 

Be Perucliio and Taisnier both assert that a line extending from 
the Mount of Mars to between the Mounts of Jupiter and Saturn, 
with little spots of the Line of Head, indicates deafness. 

Combined with the Mount of Apollo, this mount becomes an in¬ 
dication of ardor and energy in art, force, perseverance, and truth 
in action. With the Mount of the Moon, we get a love of naviga¬ 
tion, or, if the rest of the hand is bad [303J, folly. Combined with 
the Mount of Venus, we find a love of music and of dancing, sen¬ 
suality, ardor, and jealousy in love. The combination of Mars and 
Mercury denotes movement and quickness of thought and speech, 
spontaneity, incredulity, and a love of argument, strife of words, 
and mockery. An equal development of the Mounts of Saturn and 
Mars gives cynicism, audacity of belief and opinion, and want of 
moral sense; we find, in fact, in this case, the energy of Mars rous¬ 
ing to action the usually latent evil qualities of Saturn. 


CHAPTER VI. 


The Mount of the Moon [ d]. 

Tiie attributes of this mount, when found predominant in a 
hand, are imagination, melancholy, chastity, poetry of soul, and a 
love of mystery, solitude, and silence, with a tendency to reverie 
and imagination. To it belongs also the domain of harmony in 
music, as opposed to the melody, which is the special attribute [as 
we shall see] of the Mount of Venus. 

Such subjects are generally capricious and changeable, egoists, 
and inclined to be idle ; their imagination often makes them hypo¬ 
chondriacal, and their abstraction often causes them to develop 
the faculty of presentiment, giving them intuition, prophetic in¬ 
stincts, and dreams. They are fond of voyages by reason of their 
restlessness, they are more mystic than religious, phlegmatic in 
habit, fantastic, and given to romance in matters of art and litera¬ 
ture. They make generally the best rhymists, but they have no 

self-confidence, no perseverance, and no powers of expression in 

/ 

speech. They are much given to capricious marriages, which aston¬ 
ish their friends, from disparity of years, or something of the kind. 

These hands are generally swollen and soft, with short, smooth, 
and pointed fingers, and a short phalanx of logic. For the influence 
of the mount to be altogether good, it should be fuller at the base 
[near the wrist] than at the top [near the Mount of Mars] or in the 
centre. Excessive fulness in the exact centre generally betrays 
some internal or intestinal weakness, whilst excessive fulness at the 
top indicates, as a rule, biliousness, goutiness, and a susceptibility 


381 . 

Its attri¬ 
butes. 


382 . 

Characteris¬ 

tics. 


383 . 

Formation of 
the “lunar’’ 
hand. 


104 


The Complete Palmist. 


384 . 

Hard hand. 


385 . 

Effect of fin¬ 
ger tips. 


386 . 

Suitable fin¬ 
gers. 


387 . 

Excessive de¬ 
velopment. 


388 . 

Long mount. 


to catarrh. Bad concomitant signs are a forking of the head line 
[156], a low Mount of Mars, with the Mount of Apollo covered with 
a grille ; then we tind betrayed the vices of slander, debauchery, 
immodesty, insolence, and cowardice. 

The mount developed with a hard hand often betokens a danger¬ 
ous activity and exercise of the imagination; with spatulate lingers 
this subject will be constantly forming projects and plans. 

It may well be understood that a development of this mount 
emphasizes and harmonizes admirably with pointed fingers, but its 
development makes a square-lingered subject miserable by the con¬ 
stant turmoil and struggle between the realms of fact and fancy, 
unless there appear in the hand a good and well-traced line of 
Apollo, which will give an artistic turn and instinct to the regularity 
of the square lingers. But if the fingers of the hand which bears 
this mount be very long, or very square, the inevitable result will 
be a perpetual discontent. 

A development of this hand should always [26-7] be accompanied 
by short fingers, otherwise the detail indicated by the fingers will be 
constantly fretting the laissez oiler instincts of the mount, or the 
morbid imagination of the mount will turn the detail of the fingers 
into a positive disease. 

An excessive development o 1 the Mount of the Moon will pro¬ 
duce in a character unregulated caprice, wild imaginations, irrita¬ 
bility, discontent, sadness, superstition, fanaticism, and error. Such 
subjects are intensely liable to suffer from headaches ; and they take 
a morbid pleasure in painful thoughts and humiliating reflections. 

When the mount is not high, but very long, coming down to the 
base of the hand, and forming an angle with the wrist, it denotes 
a resigned and contemplative character, quite devoid of all strength, 
strength being shown by thickness , as opposed to weakness, which 
is indicated by length of the mount. 


105 


The Mount of the Moon . 

If the mount is absolutely absent, it betrays want of ideas and 
imagination, want of poetry of mind, and general drought of the 
intellect. 

Highly developed with the “ Croix Mystique,” well traced in the 
hand, and pointed fingers, we find invariably a wonderful faculty of 
clairvoyance, which may be marvellously developed and cultivated. 

The idleness [382] betrayed in a character by the development of 
this mount must not be confused with the idleness indicated by 
softness of the hands [98a], the latter denoting idleness of the body, 
and slothfulness, as opposed to the idleness indicated by the former, 
which is that of the mind [reflection, etc.]. 

It sometimes occurs that there is a difficulty in determin¬ 
ing the exact boundaries of the Mount of the Moon. It may 
generally be assumed that it joins the Mount of Mars at the 
extremity of the Line of the Head, and is separated from the 
Triangle and the Plain of Mars by either the Line of Saturn, 
or of Health, or by the Via Lasciva [which is rarely found in 
a hand, 535]. 

One line upon the mount betrays a vivid instinct, a curious vague 
presentiment of evils ; many lines and rays on the mount denote 
visions, presentiments, prophetic dreams, and the like. Such sub¬ 
jects are much prone to folly and inconstancy, A single deep ray 
across the mount, with a small line crossing it, denotes gout or a 
gouty tendency. 

A subject in whose hand is found a clear, strong line from the 
Rascette to the middle of the mount [as at bb, in Plate X.] will be a 
complaining, fretful person. 

A line extending in an arc from the Mount of Mercury to the 
Mount of the Moon [as at aa, in Plate X.], with more or less de¬ 
veloped rays upon the mount, is an invariably sure sign of presenti¬ 
ments, prophetic instincts, and dreams. 


389 . 

Absence. 


390 . 

Clairvoy¬ 

ance. 


391 . 

Idleness. 


392 . 

Boundaries 
of the mount. 


393 . 

Lines on the 
mount. 


394 . 

Line from 
the wrist. 


395 . 

Connected 
with 2 by 
curved line. 


396 . 

Horizontal 

lines. 

Voyages. 


397 . 

Star on the 
mount. 


398 . 

Connected 
with $ by 
straight line. 

399 . 

Much cross- 
barred. 


400 . 

Angle or 
crescent. 


106 The Complete Palmist. 

Horizontal lines traced upon tlie percussion at the side of the 
Mount of the Moon denote voyages. Such a travel line terminat¬ 
ing with, or interrupted by, a star, indicates that the voyage will 
be a dangerous, if not a fatal one. If a travel line is so pro¬ 
longed over the Mount of the Moon into the hand as to cut the 
Line of Head, making there a star, the subject will suddenly 
abandon his position and prospects in life, for the sake of a 
perilous voyage [668]. 

A star upon the mount, connected by a small line with the Line 
of Life, is a prognostication of hysteria and madness [cc, in Plate 
X.] when it is accompanied by the other signs of dementia in a 
hand [478]. 

A straight line from the Mount of Mercury to that of the Moon 
betokens good fortune, arising from the imagination and guiding 
instinct developed in the mount. 

The mount much cross-barred indicates a condition of constant 
self-torment and worry, the cause of which will be shown by some 
strong development elsewhere in the hand, as, for instance, by a 
development of the Line of Heart [448], which shows that the 
self-torment is from too much affection ; or by a raying of the 
Mount of Jupiter, which shows ambition to be the disturbing 
element; or by a like condition of the Mount of Mercury, 
which indicates that the worries arise from business or com¬ 
merce. This worrying tendency may, however, be counteracted 
by very square fingers, or a long phalanx of logic ; or it may 
be annulled by the resistance and resignation of a high Mount 
of Mars. 

An angle on the mount [d, in Plate X.] indicates a great danger 
of drowning. A crescent in the same place is said to betoken the 
fatal influence of woman upon one’s life. I have not come across 
these signs in practice. 


The Mount of the Moon. 

#/ 


107 


If in a hand the Mounts of Moon and Mercury are equally devel- 401. 
oped, it is a sign of subtility, changeability, and intuition in the tjoiis 'wuti 
deeper sciences, bringing, as their consequence, success and even other mounts 

Mercury. 

celebrity. A like combination of the mount with that of Venus re¬ 
sults in devotion of a romantic and fantastic kind, curiosity and Venus. 
recherche in affairs of the heart. In a bad hand such a combina¬ 
tion will give caprice, eccentricity, and unnatural instincts in affairs 
of the heart. A combination with Saturn will give hypochondria Saturn, 
and cowardice, egotism, slovenliness, and a tendency to indigestion. 

The constant attribute of the mount is imagination and fancy. 


CHAPTER VII. 


402 . 

Its charac¬ 
teristics. 


403 . 

Its indica¬ 
tions. 


404 . 

Modifying 
effects of ? . 

405 . 

The typical 
hand. 


The Mount of Venus [?]. 

The main attributes of this mount, shown in a character by its 
prominence in the hand, are the possession of, and an admiration 
for, beauty, grace, melody in music, dancing, gallantry, tenderness, 
and benevolence, with a constant desire to please and to be appre¬ 
ciated. It is essentially the Mount of Melody [381], and is, conse¬ 
quently, always to be found in the hands of those who are talented 
as singers. The attributes of this mount are the more feminine 
forms of beauty, as contrasted with the masculine forms of beauty, 
which are indicated by a prominence of the Mount of Jupiter. 

These subjects are great lovers of pleasure and society; they are 
fond of applause, but more from their love of giving pleasure to 
others than for its own sake. They hate any form of quarrel or 
strife, and are essentially gay, though they are less noisily gay, as a 
rule, than subjects of the type of Jupiter. Men of the type are 
often effeminate ; all of them, however, have the talents of painting, 
poetry, and music, whether they have the perseverance to cultivate 
them or not. 

A development of this mount will always mitigate and soften the 
harsh effects, or malignities, of any other mount. 

The hands which usually accompany a development of this 
mount are fat and dimpled, the fingers smooth and rather short, the 
thumb also short. The had influence of the type is betrayed by 
extreme softness, pointed fingers, the mount much cross-barred, the 


The Mount of Venus. 109 

Line of Mars indicated inside the Line of Life, and the Via Lasciva 
traced upon the palm. 

An excess of the mount will betray debauchery, effrontery, 
license, inconstancy, vanity, flirtation, and levity. 

The absence of the mount betrays coldness, laziness, and dul- 
ness in matters of art. Without this mount developed to a certain 
extent, all the other passions become dry and selfish in their 
action. 

If the mount is completely devoid of lines, it indicates coldness, 
chastity, and, very often, a short life. 

A quantity of lines on the mount denotes always heat of passion 
and warmth of temperament. If there are but two or three strong 
lines traced upon the mount, they indicate ingratitude. 

A worn-out libertine has always this mount flat, but very much 
rayed, the Girdle of Venus being also traced in the hand, which in¬ 
dicates that, the desire of the subject being beyond his powers, he 
constantly seeks for change and new excitement. 

«y o 

A line extending from the mount to that of Mercury [ ee , in 
Plate X.] is always a good sign, indicating good fortune and love 
resulting from one another. 

A line rising from the base of the hand into the mount is also a 
sign of good-luck \_ff in Plate X.]. 

Lines from the phalanx of logic to the Line of Life [gg, in Plate 
X.] are said by many authorities to indicate marriages ; and if they 
are confused, they betray troubles and worries in love and marriage 
[428]. 

Islands [574] placed crosswise upon the mount [jj, in Plate X.] 
indicate advantageous opportunities of marriage which have been 
missed. These lost opportunities would have been all the more 
brilliant and desirable if the islands are connected with the Mount 
of Apollo [as a,t &, in Plate X.] by a line. 


406 . 

Excess. 

407 . 

Absence. 


408 . 

Very smooth. 

409 . 

Lines on the 
mount. 

410 . 

Debauchery. 


411 . 

Connected 
with $. 

412 . 

Line from 
wrist. 

413 . 

Marriage 

lines. 


414 . 

Islands. 


110 


The Complete Palmist. 


415 . 

Other lines. 


416 . 

The seven 
types. 


Three lines extending straight to the Mount of Jupiter denote 
liberality and happiness \7ih, in Plate X.]. A deep line cutting into 
the triangle \ii, in Plate X.] betrays a tendency to asthma. 

It has been an almost invariable rule among cheirosophists to 
make these mounts the bases and distinguishing characteristics of 
seven clearly defined types, assigning to each a special physiog¬ 
nomy, phrenology, etc. This, however, is not considered expedient, 
for the hands have already been divided into seven far more practi¬ 
cal and ordinary types [159], and it is but rarely that a hand will 
be found dominated by one single preeminent mount. 



PLATE XI.—AGES UPON THE LINES OF LIFE AND OF FORTUNE. 








) 


SUB-SECTION IV. 

THE LINES IN THE HAND. 

We shall now consider and discuss each line in turn, according to 417. 
its relative importance. The great difficulty about the consideration ^ ° f 
of the lines, in the acquirement of the dogma of cheirosophy, is that 
the amount of details to be learnt by heart is apparently enormous. 

It is not, however, the case, as will be found when we reach the 
end of this sub-section, for, as a matter of fact, a complete knowl¬ 
edge of cheiromancy depends merely on a complete comprehension 
of the indications of the three principal Lines—Head, Heart, and 
Life. It is the aspect and condition of these lines, and the methods 
and causes of their disarrangments and subdivisions, which, prop¬ 
erly observed, afford us all the information we can possibly require. 


CHAPTER I. 


The Line of Life. 


418 . 

Proper con¬ 
ditions. 


419 . 

Evil aspects 
of the line. 


420 . 

Age on the 
line. 


This line should be long, completely encircling the ball of the 
thumb [Mount of Venus], strong, not too broad or too fine, with¬ 
out curvature, breakage, cross bars, or irregularities of any descrip¬ 
tion. Thus marked in a hand, it notes long life, good health, a 
good character and disposition. 

Pale and broad, it indicates ill-health, bad instincts, and a feeble 
and envious character. Thick and red, it betrays violence and 
brutality of mind ; chained [Fig. 6, Plate VIII.], it indicates deli¬ 
cacy of constitution ; thin and meagre in the centre, it indicates ill- 
health during a portion of the life ; a spot terminating this thinness 
indicates sudden death. If it is of various thicknesses throughout 
its course, it denotes a capricious and fickle temper. 

Perhaps the most important consideration connected with this 
line is the determination of age. The line is divided up into periods 
of five and ten years, in the manner shown in Plate XI., and accord¬ 
ing as irregularities or breaks occur at any of these points, an 
illness or event whatsoever threatens the life at that age. [Thus, for 
instance, say a break occurs on a Line of Life at the point where you 
see the figure 40, you may predict an illness at that age, or say the 
line ceases abruptly at the point 55, you may predict the death 
of the subject at that age.] It lias often been objected that it is 
difficult to divide the line in a living hand from a diagram like 
Plate XI., owing to the difference in the size ; but the difficulty 
ought not to exist, for the circumference of the Mount of Venus 



PLATE XII.—MODIFICATIONS OF THE PRINCIPAL LINES. 










113 


The Line of Life . 

lias only to be divided [mentally] into eighteen equal parts, the 
points of division of which should be taken to represent the ages 
indicated on the diagram. A little experience will render this 
mental operation quite easy. 

The shorter the line the shorter the life, and from the point at 
which the line terminates in both hands, may be predicted accu- 
rately the time at which death will supervene. 

A break in the line denotes always an illness. If the line is 
broken in both hands, there is great danger of death, especially if 
the lower branch of the break turn inwards towards the Mount of 
Yenus [as at a , in Plate XII.], and the sign is repeated in both 
hands. 

And here it is well to impress upon the readers a point of vital 
importance ; that is, the absolute necessity to bear in mind that to 
be certain a sign must be repeated in both hands; and this applies 
particularly and especially to the indications of accident and disease 
upon the Line of Life. A break in one hand, and not in the other, 
betokens only a danger of illness ; and in like manner, if in one 
hand the line stop short at say 35, death cannot be predicted at 
that age, unless it also stop short at the same point in the other. 
These things must be very carefully learnt before they are put into 
practice, for to make a deliberate statement as regards the above, 
would be a brutal and dangerous thing to do, unless one spoke 
with absolute certainty. 

The line ceasing abruptly with a few little parallel lines, as at b 
in Plate XII., is an indication of sudden death. If the line is con¬ 
tinually crossed by little cutting bars, it is an indication of con¬ 
tinual, but not severe, illnesses.. 

If the line is broken up and laddered, as at cc in Plate XII., it 

denotes a period of continued delicacy and ill-health. If it is broken 

inside a square, as at a in Plate XIII., it indicates recovery from a 
8 


421 . 

Short line, 
short life. 

422 . 

Breaks in the 
line. 


423 . 

Necessity of 
corroborative 
signs in both 
hands. 


424 . 

Sudden 

death. 


425 . 

Broken line. 
Square. 


114 


The Complete Palmist. 


426 . 

Sister line. 


427 . 

Forked or 
tasselled. 


428 . 

Rays across 
the hand. 
Worry lines. 


serious illness ; a square always denotes protection from some dan¬ 
ger [564]. A bar across the broken ends [as at b , Plate XIII.] also 
denotes a preservation from an illness. 

Whatever may be the condition of the line, a sister line, as at 
ad, Plate XII., will replace it and counteract the evil effects of the 
irregularities found on the main line, protect the subject against 
most of the dangers which assail him, and indicate a luxurious, com¬ 
fortable existence. 

The line should be free from forks and tassels throughout its 
course. Tasselled at its extremity, as at c in Plate XIII., it indi¬ 
cates poverty and loss of money late in life, if not earlier. Forked 
at the commencement, as at e, Plate XII., it indicates vanity, inde¬ 
cision, and fantasy ; but if the fork is very clear and simple [not 
confused as in the figure], it may in a good hand mean justice of 
soul and fidelity. In like manner, if instead of the tassel at c, Plate 
XIII ., we find a plain fork, if points to overwork in old age result¬ 
ing in poverty ; it is, in fact, the first warning of the appearance of 
the tassel. A ray of the tassel going to the Mount of the Moon [as 
at d, Plate XIII.] shows a great danger of folly resulting from these 
troubles. A fork going to the Line of Head [as ate, Plate XIII.] 
equals faithfulness, but if it be at the side of the hand, as at f, it is, 
on the contrary, a sign of inconstancy. A fork in the very centre 
of the line is a warning of diminished force, which must be attended 
by a relaxation of the efforts, especially if the tassel appears at the 
base of the line, or the head is at all weak. 

Rays across the hand from the Mount of Venus [as in Plate 
XIV. ] always denote worries and troubles. Across the Line of For¬ 
tune to a star in the Triangle, they denote loss of money ; continued 
to the Line of Head, as at b, a ray indicates a consequent loss of rea¬ 
son, or, at any rate, danger to the mental faculties. Cutting the 
Line of Apollo, as at c , it betokens a worry or loss of money early in 




PLATE XIII.—MODIFICATIONS OF THE PRINCIPAL LINES. 























115 


The Line of Life. 

life, by reason of the ruin or misfortune of one’s parents ; if it starts 
from a star, as at d, it shows that the misfortune was caused by the 
death of a parent. The age at which these troubles occur is shown 
by the place at which the Line of Life is cut by the worry line. If 
the worry line terminates at a point or star upon the Lines of Head 
or Heart [as from /, in Plate XIV.], or upon the Mount of Mars, it 
denotes that the worry has brought about an illness. If the line goes 
straight to the heart, as at gg, in Plate XIII., it indicates an un¬ 
happy love affair; if an island appear in the line [h, Plate XIII.], 
the consequences are likely to be, or have been, serious, if not 
shameful ; a fork at the point where gg cuts the Line of Life, as in 
Plate XIII., indicates an unhappy marriage, or even a divorce. A 
worry line from a star in the mount [/, Plate XIII. ] indicates quar¬ 
rels with relations, ending in ruin if it goes up to the Mount of 
Apollo, as at j ; but if it goes up and joins with the Line of Apollo, 
as at 7i, it is a prognostic of good fortune arising therefrom. A line 
from the Mount of Venus, just cutting the Line of Life, as at It 
in Plate XIV, indicates marriage at the age whereat the line is 
found. 

Rays across the hand just cutting the line, generally indicate 429 . 
an illness caused by the mount or line whence the ray takes its de- Rays cut_ 

ting the 

parture, at the age at which it occurs upon the line ; thus, from the Line of Life. 
Line of Heart it means an illness caused by the heart; from the 
Line of Head an illness caused by the head or brain ; from the 
Mount of Mars a danger brought about by passion, and so on. 

A ray ascending to the Mount of Jupiter, as at ll in Plate XIII., 430. 
betrays ambition, lofty aims, egoism, and success. These lines Ray llp 
often appear in a hand quite suddenly. 

If a branch rise from a black spot on the line, it indicates that a 431, 
disease has left a nervous complaint. Black spots always indicate ,Spol i s on 

the line. 

diseases, and if they are very deep, they indicate sudden death. 


116 


432 . 

Ascending 

and 

descending 

branches. 


433 . 

Starting 
under if. 


434 . 

Joined to 
Head and 
Heart. 

435 . 

Cross and 
branches. 


436 . 

Line from $ . 

437 . 

Ray to O. 


438 . 

Spots and 
circles. 


439 . 

Separate 
from head. 


The Complete Palmist. 

Branches ascending from the line, as in Plate XV., denote ambi¬ 
tion, and nearly always riches ; if they ascend through the other 
lines, as at a a a , they indicate that the success is brought about 
by the personal merit of the subject. Descending branches, as at h, 
Plate XV., denote loss of health and wealth. 

If instead of starting from the extreme outside of the hand, the 
Line of Life commences under the Mount of Jupiter [say at g , Plate 
XII.], it betrays great ambition, and is often a sign of great suc¬ 
cesses and honors. 

If the Lines of Life, Head, and Heart are all joined together at 
the commencement, it is a terrible sign of misfortune and violent 
death. 

A cross cut by branches of the line, as at c, Plate XV., betokens 
a mortal infirmity, with grave fear of death; a cross at the end of 
the line, as at d , denotes [if the line is otherwise clear] that the 
subject will suffer unmerited reverses in his old age. A cross at 
the commencement of the line indicates an accident in early life, 
especially if a point be also found on the line at the same 
place. 

A line from the Mount of Mars cutting the Line of Life, as at ee 
in Plate XV., indicates a wound. 

A ray going direct from the line to the Mount of Apollo, denotes 
celebrity ; if it is indistinct, this celebrity is obstructed by some 
quality of the character, which must be sought for and guarded 
against. 

Spots upon the line are indications of temporary illness, while 
circles denote a serious affection of the eyes, often resulting in 
blindness. 

If the line, instead of being joined to the Line of Head, be sepa¬ 
rated, as at f in Plate XV., it is a sign of folly and carelessness, of 
extreme self-reliance and foolhardiness in consequence, especially if 



PLATE XIV.—MODIFICATIONS OF PRINCIPAL LINES. 


















The Line of Life. 117 

tlie space be filled with a mesli of little lines, and the lines them¬ 
selves be big and red. 

If the line come out in a great circle into the palm of the hand, 
and reach, or end, close to the Mount of the Moon, it is a sign of 
long life. If a line have a break in it and a sister line, the latter 
mends it, as it were, and the only effect of the break is a delicacy 
during the period over which the break extends. If the broken end 
of the line join with the Line of Fortune, it is an indication that, at 
some time or other, the life has been in great danger, from which it 
has been protected by good luck. 

Again, if the line appears to be short, an intense desire to live, 
supported by a strong phalanx of will and a good Line of Head, 
will often prolong it, the prolongation being marked on the hand by 
the appearance of sister lines or capillaries. 

A Line of Life lying close to the thumb is a mark of sterility, 
especially if the Lines of Health and Head are joined by a star. 

An island [573-78] on the line denotes an illness during the 
period of its length, generally caused by some excess shown else¬ 
where on the hand. If the line of health is absent, the island 
denotes biliousness and indigestion ; an island at the very commence¬ 
ment of the line betrays some mystery of birth, some fatality, 
or some hereditary disease. 


440 . 

Curving out 
to Mount 
of ]). 


441 . 

Short line 
contracted. 


442 . 

Close to 
thumb. 

443 . 

Island. 


CHAPTER II. 


The Line of Mars. 


444 . 

Effects of 
the line. 


445 . 

Indications. 


In some hands we find inside the line of life, and running parallel 
and close to it, a second or sister line known in cheirosophy as the 
Line of Mars, or the Martial Line [Plate VII.]. Like all sister lines, 
it repairs and mitigates the effects of breaks in the main line ; and it 
derives its name from the fact that it gives to soldiers great successes 
in arms, especially if it is clear and red in color. 

It gives, together with riches and prosperity, a great heat and 
violence to the passions, which with this line, if uncontrolled, are apt 
to become brutish. Its influence lasts throughout the period during 
which it follows the Line of Life. 


















✓ 





PLATE XV.—MODIFICATIONS OF THE PRINCIPAL LINES. 







CHAPTER III. 


The Line of Heart. 

This line should be neat, well colored, and extending from the 
Mount of Jupiter to the outside of the hand under the Mount of 
Mercury, not broad and pale, or thick and red, but well traced, and 
of a good normal color ; such a condition of the line indicates a 
good heart, an affectionate disposition, with an equable temper and 
good health. 

The strength of the affection is in proportion to the length of 
the line ; if the line, instead of beginning at the Mount of Jupiter, 
begins upon the Mount of Saturn, the subject will be more sensual 
than Platonic in his affections. 

Traced right across the hand [from side to side], it indicates an 
excess of affection which produces jealousy and suffering in conse¬ 
quence thereof, especially if the Mount of the Moon is high. 

If it is chained in its formation, the subject is an inveterate flirt, 
and, unless the rest of the hand be very strong, will be much subject 
to palpitations of the heart. 

Bright red in color, the line denotes violence in affairs of the 
heart, and, on the other hand, a pale line, broad and chained, be¬ 
trays a cold-blooded roue , if not a condition of heart utterly blase. 
A livid or yellow color betrays subjection to liver complaints. 

The line should be close underneath, well up to the bases of the 
mounts ; a line which lies close to that of the head throughout 
its length, betrays evil instincts, avarice, envy, hypocrisy, and 
duplicity. 


446 . 

Proper 

aspects. 


447 . 

Length of 
the line. 


448 . 

Excess. 


449 . 

Chained. 


450 . 

Color. 


451 . 

Position. 


120 


The Complete Palmist. 


452. 

Commencing 
under . 


453. 

Between first 
and second 
fingers. 

454. 

Girdle of ? 
and D. 


455. 

Absence of 
the line 


455a. 

Breaks in the 
line. 


456. 

Many little 
lines. 


457. 

Forked. 


A Line of Heart which begins quite suddenly without branches 
or rays beneath the Mount of Saturn, foreshadows a short life and a 
sudden death. If the line is very thin and runs right across the 
hand, it indicates cruelty even to murderous instincts. 

If the line, instead of terminating on the Mounts of Jupiter or 
Saturn, seems to disappear between the first and second fingers, it 
betokens a long life of unremitting labor. 

If to a large Line of Heart a subject add the Girdle of Venus 
[Plate VII.] and a high Mount of the Moon, he will be a victim to the 
most unreasoning jealousy. 

If in a hand there be found no Line of Heart, it is an unfailing 
sign of treachery, hypocrisy, and the worst instincts, and, unless 
the Line of Health be very good, the subject will be liable to heart 
disease, and runs a grave danger of a sudden, early death. 

A line which is much broken up denotes inconstancy, and often 
these subjects are woman-haters. A single break shows a feebleness 
of the heart, and the cause of that feebleness may always be found 
in some excess or evil development of a mount—fatality shown by a 
development of the Mount of Saturn; foolishness shown by an 
equal development of the Mounts of Saturn and Apollo; pride 
shown by the Mount of Apollo ; folly or avarice shown by the 
Mount of Mercury. 

A quantity of little lines cutting across the line diagonally indi¬ 
cates many misfortunes of the heart, arising originally from Aveak- 
ness of the heart or liver. 

The line dividing at the end and going in three branches to the 
Mount of Jupiter, is a most fortunate sign, indicating riches and 
good-luck. Any forking of the line which sends a branch on to the 
Mount of Jupiter is good ; even if the branch goes to between the 
fingers of Jupiter and Saturn, this betokens still good fortune, but 
of a more quiet and undisturbing description. But a forking which 


121 


The Line of Heart. 

sends one ray upon the Mount of Jupiter and the other upon the 
Mount of Saturn, betrays errors and failures in the search after suc¬ 
cess, and fanaticism in religion. 

If the line is quite bare under the finger of Jupiter at its com- 

\ 

mencement, there is great danger of poverty ; a similar bareness at 
the percussion indicates sterility ; the fork under Jupiter gives also 
to the subject energy and enthusiasm in love. A line quite bare of 
branches throughout its length indicates dryness of heart and want 
of affection. 

If the line touch the base of the finger of Jupiter, the subject 
will be unsuccessful in all his undertakings, unless the Line of For¬ 
tune be exceptionally good. 

A mark like a deep scar across the line betrays a tendency to 
apoplexy ; red spots or holes in the line denote wounds either phys¬ 
ical or moral. White marks on the line denote conquests in love ; 
a point on the line means grief of the heart, and, according to its 
position, you can tell by whom it was caused, thus: Under the 
Mount of Apollo the cause was an artist, or a celebrity— i.e., the 
grief is connected with art or ambition ; under the Mount of 
Mercury the grief is caused by a man of science, a lawyer, or a 
doctor. 

If the line curl round the first finger, it is a sign of a marvellous 
faculty for occultism and the possession of high occult powers. 

Joined to the Line of Head under the Mounts of Jupiter or 
Saturn, it is a sign of a great danger threatening the life, and of 
sudden and violent death if the sign is repeated in both hands. If 
the line turn down on to the Line of Head, with a ray across it, as 
at h in Plate XII., it is a sign of a miserable marriage, or deep 
griefs of the heart. 

A ray from the Line of Life to the Mount of Saturn, reaching to 
the base of the finger [as at m in Plate XIII.], is a very bad sign in 


458. 

Bare line. 


459. 

Touching 2f<. 


460. 

Marks on the 
line. 


461. 

Curled round 
first finger. 

462. 

Joined to 
head. 


463. 

Bay to ^. 


12 : 


The Complete Palmist. 


464. 

Lines from 
the quad¬ 
rangle. 

465. 

Curved line 
to D. 


a woman's hand, immeasurably and even fatally increasing the 
dangers of maternity. 

Lines from the Quadrangle to the Line of Heart, as at i i i in Plate 
XII., denote aptitude for science, curiosity, research, and versa¬ 
tility, which often culminates in uselessness. 

A curved line from the Line of Heart to the Mount of the Moon 
[stopping abruptly at the Line of Heart (895)], as at j in Plate XII., 
denotes murderous tendencies and instincts. 








CHAPTER IV. 


The Line of Head. 

This line should be joined to the Line of Life at its immediate 
commencement, and leaving* it directly should trace a strong ray 
across the hand to the top of the Mount of the Moon, clear and well 
colored, without ramifications or forking, uninterrupted and regular; 
such a formation indicates good sense, clear judgment, cleverness, 
and strength of will. 

Pale and broad, it indicates feebleness or want of intellect. 
Short— i.e., reaching only to the Plain of Mars,—it betrays weak 
ideas and weak will. [Stopping under the Mount of Saturn, it 
foreshadows an early, sudden death.] Chained, it betrays a want 
of fixity of ideas and vacillation of mind. Long and very thin, it 
denotes treachery and infidelity. Of unequal thickness, twisted, 
and badly colored, it betrays a feeble liver and want of spirit; such 
subjects are always avaricious. 

A long Line of Head gives domination to a character —L e ., 
domination of self as opposed to the domination of others, indicated 
by a large thumb. A long Line of Head in a many-rayed and lined 
hand gives great self-control and coolness in dangers and difficulties, 
and the strength of the head [shown by the long line] causes the 
subject to reason out and utilize the intuitive powers and instinctive 
promptings indicated by the multiplicity of rays and lines in the 
hand. 

Very long and straight— -i.e., cutting the entire hand in a straight 
line from the Line of Life to the percussion,—it indicates excess of 


466. 

Proper 

aspects. 


467. 

Evil condi¬ 
tions and 
aspects. 


468. 

Length of 
the line. 


469. 

Excessive 

length. 


470. 

Modifica¬ 

tions. 

471. 

Starting un¬ 
der . 


472. 

Position. 


473. 

Influence of 
good line. 


474. 

Stopped un¬ 
der u or ©. 


124 The Complete Palmist. 

reasoning habits, over-calculation, and over-economy, denoting ava¬ 
rice and meanness. 

The excessive economy [avarice] of this long line may be greatly 
modified by a softness of the hand or a high development of the 
Mounts of Jupiter or of Apollo. 

If instead of joining the Line of Life at its commencement it only 
leaves it under the Mount of Saturn, it is a sure indication that the 
education has been acquired and the brain developed late in life ; 
or, if the Line of Life is short, and the Line of Head also, it fore¬ 
shadows a grave danger of sudden death. A like commencement, 
the line reaching across to the Mount of Mars, the Line of Heart 
being thin and small, indicates struggles and misfortunes arising 
from infirmities of temper or errors of calculation, unless the Line of 
Fortune is exceptionally good. Such a subject will often appear 
benevolent, but his benevolence will generally be found to be only 
of a nature which gives pleasure to himself, and is usually more 
theoretical than practical. 

The line must lie at a good regular distance from that of the 
heart; lying close up to it throughout its length, it betrays weak¬ 
ness and palpitations of the organ. 

Remember that an extremely good Line of Head may so influence 
the whole hand as to dominate ' over evil signs which may there be 
found, especially if the Mount of Mars be also high ; such a com¬ 
bination gives to a subject energy, circumspection, constancy, cool¬ 
ness, and a power of resistance which goes a long way towards com¬ 
bating any evil or weak tendencies which may be found in his 
hand. 

If the line stops abruptly under the Mount of Saturn, it forewarns 
of a cessation of the intelligence, or [with other signs] death in early 
youth ; stopping similarly under the finger of Apollo, it betrays 
inconstancy in the ideas and a want of order in the mind. 


The Line of Head. 125 

«/ 

If, though visible, it appears joined to the Line of Life for some 
way before leaving it to go across the hand, it indicates timidity and 
want of confidence, which give dulness and apathy to the life, and 
which are with difficulty overcome. When this sign appears in an 
otherwise clever hand, the most strenuous efforts should be made to 
counteract this want of self-reliance, which is so serious an obstacle 
to success. Joined to the Line of Life in a really strong and clever 
hand, the indication will be of caution and circumspection. 

Thin in the centre for a short space, the line indicates a nervous 
illness, neuralgia, or some kindred disease. 

Separated from the Line of Life at its commencement and going 
well across the hand, it indicates intelligence, self-reliance, and 
spontaneity [439], and, with a long thumb, ambition. Separate from 
the Line of Life, and short or weak, it betrays carelessness, fantasy, 
jealousy, and deceit; often these subjects have bad sight. Sepa¬ 
rated thus, but connected by branches or ramifications, it indicates 
evil temper and capriciousness; connected by a cross, it betrays 
domestic troubles and discomforts. Even in a good hand there is 
danger in this sign of hrusquerie , and a too great promptitude of 
decision which often leads to error. With the Mounts of Saturn or 
Mars prominently developed, it is a sign of great audacity or impru¬ 
dence, but it is a useful prognostic [within limits] for public charac¬ 
ters or actors, giving them enthusiasm and boldness of manner in 
public, and the gift of eloquence by reason of their self-confidence. 
A long line thus separated will give want of tact and discrimination, 
and an impulsive manner of speech, which is often inconvenient, and 
sometimes wounds. 

If the line, instead of going straight across the hand to the base 
of the Mount of Mars or to the top of the Mount of the Moon, trace 
an oblique course to a termination on the Mount of the Moon, it is 
a sign of idealism, imagination, and want of instinct of real life. If 


475 . 

Joined to 
Life at com¬ 
mencement. 


476. 

Thin at cen¬ 
tre. 

477. 

Separated 
from the 
Line of Life. 


478. 

Declining to 
the Mount 
of D. 


479. 

Turning up 
to a mount. 


480. 

Turning up 
to, or cut¬ 
ting, Heart. 


12(3 The Complete Palmist 

it comes very low upon the mount, it leads to mysticism and folly, 
even culminating in madness if the Line of Health is cut by it in 
both hands. In an otherwise fairly strong hand this declension upon 
the Mount of the Moon gives poetry and a love of the mystic or 
occult sciences, superstition, and an inclination to spiritualism. 
Such a formation, if the Mount of the Moon is rayed, generally 
gives a talent for literature. The Line of Head coming low upon the 
Mount of the Moon to a star, as at g in Plate XV., with stars on 
the Mounts of Venus and Saturn, as at 7i and i, and a weak Line of 
Heart, are terribly certain signs of hereditary madness. This ex¬ 
treme obliquity of the line always indicates a danger of madness, 
and these concomitant signs [314] prove it to be hereditary, and prob¬ 
ably unavoidable. 

Again, if instead of going across the hand it turn up towards 
one of the mounts, it will show that the thoughts are entirely taken 
up by the qualities belonging to the respective mounts ; thus turn¬ 
ing up to the Mount of Mercury, commerce will be the prevailing 
instinct, and will bring good fortune; or, turning towards the 
Mount of Apollo, a desire for reputation will be the continual 
thought. If it point between the lingers of Apollo and Mercury, 
the signification is of success in art brought by scientific treatment. 
If the line go right up on to the mount, it will denote a folly of the 
quality—thus, for instance, ending on Mercury it will denote 
occultism and deceit; on Apollo, the mania of art; and on Saturn, 
the mania of religion. 

Any turning up of the Line of Head towards that of the heart 
denotes a weak mind, which lets his heart and his passions domineer 
over his reason ; if it touch the Line of Heart, it is a prognostic of 
early death. If it cut through the Line of Heart and end upon the 
Mount of Saturn, it foreshadows death from a wound to the head. 
If it turn up to the Line of Heart and confound itself with it 













The Line of Head. 127 

c/ 

obliquely, it foreshadows a fatal affection, which runs a great risk 
of terminating in madness. 

Turning back towards the thumb, the Line of Head denotes 
intense egotism and misfortune in consequence thereof. 

A break in the Line of Head nearly always indicates an injury to 
the head. Broken under the finger of Saturn, and the broken ends 
overlapping, as at a in Plate XVI., the prognostic is especially cer¬ 
tain, but in a bad hand it is said to be a sign of the scaffold, or, 
at any rate, of the loss of a member, even if the sign appear in one 
hand only. Much broken up, it is a sign of headaches and general 
weakness of the head, resulting in loss of memory and want of con¬ 
tinuity in the ideas. Snch a breaking up will rob a long phalanx of 
will of much of its power, and long fingers of much of their spirit 
of minutiae. If with this shattered Line of the Head we find in the 
Plain of Mars a cross, the rays terminating in points or spots and 
short nails, it is a grave warning of a tendency to epilepsy. 

Split throughout its length is a strengthening sign if other indi¬ 
cations of madness appear in the hand, but if the line is distinctly 
double [/.c., if it is accompanied by a sister line] it is a sure sign of 
good fortune and inheritances. 

If the line is forked at the end, with one of the “prongs” 
descending upon the Mount of the Moon [as at h in Plate XVI.], 
we have a certain indication of lying, hypocrisy, and deceit. Such 
a man, even with a good hand, will be a clever sophist, never off his 
guard, ready at all times with [if necessary] an ingenious rearrange¬ 
ment of facts to suit the needs of the immediate present. This 
forking has somewhat the effect of short nails, giving to a subject a 
love of controversy and argument. If the rays or “prongs” of the 
fork are so long that one extends right across the hand, and the 
other comes well down to the rascette, it has the dual effect of a 
long Line of Head, and of a Line of Head which descends far upon the 


481 . 

Turning 

back. 

482 . 

Breaks in 
the line. 


Cross in $ . 

483 . 

Split and 
sister line. 


484 . 

Forked at 
the end. 


I 


128 


The Complete Palmist. 


485 . 

Cut by lines. 


* 486 . 

Cross. 


487 . 

Points on 
the line. 


488 . 

Knotted. 


489 . 

Capillaries. 


Mount of the Moon, giving at once poetry and realism— i.e., a capa¬ 
bility of making a practical use of poetic inspirations. A good Line 
of Apollo gives great talent to a forked Line of Head, from its power 
of seeing all round a subject, and of considering it from all points. 
If one ray of the fork go up to touch the Line of Heart, and the other 
descend upon the Mount of the Moon, it betrays the sacrifice of all 
things to an affection, and if with this sign the Line of Saturn or For¬ 
tune stop short at the Line of the Heart, it denotes that this infatua¬ 
tion has brought ruin with it. The two signs are nearly always 
concomitant. 

Cut by a multitude of little lines, the Line of Head indicates a 
short life, with many illnesses and headaches. If the little cross 
lines are confined to the middle of the Line of Head, it is a sign of 
dishonesty. 

A cross in the middle of the line is a foreshadowing of near 
approaching death, or of a mortal wound if the line is also broken 
at this point. 

Led points indicate wounds ; white ones indicate discoveries in 
science or inventionsblack points, ailments according to the 
mount most developed in the hand. Thus with the Mount of 
Saturn, toothaches ; with the Mount of Venus, deafness ; with the 
Mount of Apollo, diseases of the eyes [especially if a star appear at 
the junction of the finger of Apollo and the palm]. These points 
are often connected with similar spots on the Line of Life by rays 
or lines, which enable us to pronounce with certainty the ages at 
which the subject has suffered from these maladies. 

A knotting up of the line betrays an impulse to murder, which, 
if the knot is pale, is past, but which, if the knot is deep red, is to 
come. 

Capillary lines [Fig. 9, Plate VIII.] on the Line of Head are a 
sign of a well-ordered mind and a good disposition. 


The Line of Head. 129 

«/ 

An island in the Line of Head is an indication of acutely sensitive 

«/ 

nerves. 

A star upon the line is generally a sign of a very bad wound, 
bringing danger of folly with it. 

If a line be found connecting a star on the Mount of Venus with 
a spot on the Line of Head [as at cc in Plate XVI.], it indicates a 
deeply rooted and ever-remembered disappointment in love. 

If a line extend from the Line of Head to the root of the finger of 
Jupiter [as at i in Plate XIV.], it indicates intense pride and vanity 
which is easily wounded ; if it end at a star upon the finger [as at 
j in Plate XV.], it is a sign of extreme good-luck; but if it end at 
the same place by a cross, the luck will be, on the contrary, ex¬ 
tremely bad. This little line, joined by the Line of Saturn, or For¬ 
tune, indicates vanity, reaching even to folly. 



490 . 

Island. 

491 . 

Star. 

492 . 

Star on $ . 


493 . 

Line to U . 


9 


CHAPTER Y. 


The Line of Saturn , or Fortune. 

494. Tiie Line of Saturn, or Fortune, has three principal points of 

in points departure for its base: it may start from the Line of Life, as at d 

departure x 

ami their in- in Plate XVI. from the raseette , as at e / or from the Mount of the 
dications. 

Moon, as at f. Starting from the Line of Life, the Line of Fortune 
indicates that the luck in life is the result of one’s own personal 
merit. If it start from the wrist, or raseette, the fortune will be 
very good, especially if it trace a line, strong furrow on the Mount of 
Saturn ; in the same direction, but commencing higher up from a 
point in the Plain of Mars, we get an indication of a painful, trou¬ 
bled life, especially if the line penetrate [as it often does] into the 
finger. If the line start from the Mount of the Moon, it shows [if it 
goes straight to the Mount of Saturn] that the fortune is, to a great 
extent, derived from the caprice of the opposite sex. If from the 
Mount of the Moon the line go to that of the heart, and, confound¬ 
ing itself therein, go on up to the Mount of Jupiter, it is an infal¬ 
lible sign of a rich and fortunate marriage. You must guard against 
confounding a chance line from the Mount of the Moon to the Line 
of Saturn with the Line of Saturn starting from that mount. If 
[besides the Line of Saturn, as at e in Plate XVI.] we have another 
line starting as at/*, in Plate XVI., and cutting instead of joining 
the Line of Saturn, it betrays the fatal effects of imagination, cul¬ 
minating possibly in weakness, or evil to the mental capacity. Start¬ 
ing from the very base of the Mount of the Moon, and ending on the 
Mount of Saturn, is an indication of prediction and clairvoyance. 


131 


The Line of Saturn , or Fortune. 

Instead of going to tlie Mount of Saturn, the ]ine may go up to 495 . 
some other mount, in which case it will have special significations ; cnuina i ~ 
thus, going to the Mount of Mercury, we get fortune in commerce, line - 
eloquence, and science; going to the Mount of Apollo, we get 
fortune from art or wealth ; going to the Mount of Jupiter, we 
find satisfied pride, and the attainment of the objects of our 
ambition. 

* 

It the line, instead of stopping on the mount, go right up to the 496, 

X 11 o*t | -P 

second joint of the finger, we have the indication of very great for- 

tune, which will be either very good or very bad, according to the 

* 

concomitant signs. Thus, with a good hand, this is a first-rate sign ; 
but with a deep red line on the mount, and a star on the first pha¬ 
lanx of the finger, we have the indication of the worst possible for¬ 
tune, ending in a violent death, probably on the scaffold. The line 
should just extend from the top of the rascette to the centre of the 
Mount of Saturn ; reaching to the jointure of the finger and palm, 
or penetrating into the rascette is a bad sign, being a sure indication 
of misery. Starting from the rascette, and stopped at the Line of Stopped at 

• Lines of 

Heart, indicates a misfortune arising from a disappointment in love ; Header 
or, in a weak hand, heart disease. Similarly stopped at the Line of IIeart 
Head, the misfortune will arise from an error of calculation, or from 
an illness of the head. 

If it only start from the Line of Head it denotes labor, pain, 497 . 

and ill-health, unless the Line of Head is very good, when it will ^ 
be an indication of fortune acquired late in life by the intelli¬ 
gence of the subject. Shorter still— i.e., from the quadrangle to 
the Mount of Saturn—the indications are still more unfortunate, 
being of great sorrows, and even of imprisonment. The evil 
prognostications of a line which goes into the third phalanx of 
the finger of Saturn may be averted by the presence of a square 
[564] on the mount. 


132 


The Complete Palmist . 


498 . 

Broken in 
quadrangle. 


499 . 

Age on the 
Line of Fate. 


500 . 

Explana¬ 
tions by ^ . 


501 . 

Conditions 
of the line. 
Twisted. 


Split. 


If the line is stopped in the quadrangle, and then starts again at 
the Line of Heart, ending its course upon the mount, it denotes that 
though the luck will be obstructed and retarded, it will not be per¬ 
manently spoilt, and the position in life will not be lost ; and this is 
especially certain if a good Line of Apollo be found in the hand. 

And this brings us to the indications of age on the Line of Saturn. 
The line starts from its base, and on it [as in Plate XI.] one can tell 
by its breaks, and so on, approximately the ages at which events 
have occurred in a life ; it must, however, be premised that these 
indications are not anything like as sure as those of the Line of Life. 
From the base of the line to the Line of Head we have thirty years, 
from the Line of Head to that of the heart we find the events of the 
life between thirty and forty five years, and thence to the top of the 
line takes us to the end of the life. Thus, for instance, if you see a 
gap, or break, in the line from the Line of Head to just below the 
Line of Heart, you can predict misfortunes between the ages of thirty 
and forty ; and a connecting line will generally indicate the nature 
and cause of the ill-luck. Also it will often be found that in the 
right hand a misfortune will be marked on the Line of Saturn, the 
exact date of which will be marked by a point on the line in the left 
hand. 

The indications found upon the Line of Saturn often explain and 
elucidate indications only dimly or vaguely traced upon the Line 
of Life, or in the rest of the hand. 

A perfectly straight line, with branches going upwards from its 
two sides, indicates a gradual progress from poverty to riches. 
Twisted at the base, and straight at the top, indicates early mis¬ 
fortunes, followed by good-luck. Straightness, and good color, 
from the Line of Heart upwards, always betokens good fortune in 
old age, with invention in science, and talent for such pursuits as 
horticulture, agriculture, construction, and architecture. Split and 


The Tine of Saturn , or Fortune. 133 

twisted, tlie Line of Saturn indicates ill-health from an abuse of 
pleasure. A twisted condition of the line always denotes quarrels, 
and a very good and well-traced Line of Saturn will annul the evil 
indications of a badly formed Line of Life. 

A broken and ragged condition of the line betrays an inconstancy 
and changeability of fortune. Breaks in the line in the Plain of 
Mars denote physical and moral struggles. Even, however, if it is 
broken up, it may be replaced by a very good development of the 
Mount of Saturn, or a favorable aspect of the Mount of Mars ; and 
to the worst luck a high Mount of the Moon will give a calm and 
resignation which rob it of much of its evil indication. A strong, 
irregular Line of Fortune, in a much-rayed and lined hand, betrays a 
constant irritability and a supersensitive condition of mind. A 
well-traced Line of Saturn always gives a long life ; broken up at the 
base is an indication of misery in early life, up to the age [499] at 
which the breaking up ceases. If it end in a star on the mount, it 
foreshadows great misfortune, following great good-luck ; in a good 
hand this sign generally means that the misfortune is caused by the 
fault of others, generally of one’s relations. For the Line of Saturn 
to be lucky, there must be explanatory points in the hand for the 
luck to come from, and to find these is one of the most important 
tasks of the cheirosophist. 

Cut by a multitude of little lines on the mount, we can safely 
foretell misfortunes late in life, after a long period of good-luck. 
Cut by a line starting from the Mount of Venus, it denotes conjugal 
misery, or misfortune caused by a woman [gg, in Plate XVI.]. 

If the line is simply absent from a hand, it denotes an insignifi¬ 
cant life, which takes things as they come, meeting with neither par¬ 
ticularly good nor particularly bad fortune. 

Forked, with one ray going to the Mount of Venus and the other 
to the Mount of the Moon [as at nn in Plate XIII.], we find a strife 


502 . 

Breaks in 
the line. 


503 . 

Cut bylines. 


504 . 

Absence. 


505 . 

Forked. 


134 


The Complete Palmist. 


506 . 

Crosses. 


507 . 

Stars. 


508 . 

Island. 


for success, directed by the wildest imagination, and spurred on by 
love. If the line go well up, as in Plate XIII., the ambition will be 
successful, after much struggle ; but if the main line is broken or 
malformed, the necessary intrigues and caprices caused by the 
formation of the line will result in inevitable misfortune. 

Any cross upon the line indicates a change of position or of 
prospects in life at the age indicated by the position of the cross 
upon the line [as in Plate XI.]. In the very centre of the line it is 
always a misfortune, and the cause of it may nearly always be found 
upon the Lines of Head or Life, showing the misfortune to arise 
from error or miscalculation, or from illness or the loss of friends. 

A star at the base of the line [as at j in Plate XIV.] denotes a 
loss of fortune, brought by the parents of the subject in early 
youth ; if there be also a star on the Mount of Venus [as at li in 
Plate XV.], the immediate cause is the early death of a parent. 

An island on the line betrays, almost invariably, a conjugal infi¬ 
delity ; a star accompanying the island betokens a great misfortune 
arising therefrom. At the very base of a line, an island indicates 
a mystery connected with the birth of the subject, and with this 
sign an extreme malformation of the line will betray illegitimacy. 
In a really good hand, an island on the Line of Saturn indicates a 
hopeless, untold passion ; with a star and a cross on the Mount of 
Jupiter, the island will show that the passion has been for a cele¬ 
brated or exalted person. 


CHAPTER VI. 


The Line of Apollo , or Brilliancy. 

The Line of Brilliancy may start either from the Line of Life, the 
Plain of Mars, or the Mount of the Moon, as at k k k in Plate XV. 
Whenever it is present, it denotes glory, celebrity, art, wealth, merit, 
or success ; its best aspect is when it is neat and straight, making 
a clear cut upon the Mount of Apollo, signifying celebrity in art, 
and consequent riches, with a capacity for enjoying and making 
the best of them. Clearly marked, the line also denotes that the 
subject is under the favor or influence of the great ; it gives him, 
also, the calmness of natural talent, and the contentment of self¬ 
approbation. 

It is necessary that this line exist in a really lucky hand to 
make its good fortune absolute ; a good Line of Saturn will be 
seriously compromised by the absence of this line. 

With the Mounts of Jupiter and Mercury developed, this line 
is a certain indication of wealth, and such a subject will become 
celebrated by his fortune, dignity, and merit, no less than by his 
talents and scientific capacities. 

Twisted fingers, or a hollow palm, are very bad signs with this 
line ; for they show that the influences of the line are guided in an 
evil direction, and that the talents betokened by it are used for the 
attainment of bad ends. 

With a long Line of Head, and a long finger of Apollo, the ten¬ 
dencies of the line will be material, the ambition and talents being 
turned towards the attainment of riches. 


509 . 

Position in 
the hand. 


510 . 

Necessity in 
lucky hand. 

511 . 

With U 
and 5 . 


512 . 

Twisted 
fin sre rs. 

o 


513 . 

With long 
Head 
and O. 


136 


The Complete Palmist. 


514 . 

Proper as¬ 
pects of the 
line. 


515 . 

Absence. 

Broken up. 


516 . 

Lined 

Mount of o. 


517 . 

Signs in the 
quadrangle. 


518 . 

Divided on 
the mount. 


The line, to have all its highest artistic significations, should be 
well colored ; pale, it denotes that the subject is not actively artistic, 
but has merely the instincts of art, loving things that are brilliant 
and beautiful. In these respects the indications are the same as 
those of a high Mount of Apollo \without the line ; such a formation 
also gives a love of the beautiful without production, the mount 
giving the instincts, and the line giving the talents, of art. 

Absence of the line from a hand indicates want of success in 
projects and undertakings which would lead to glory and success. 

Much broken up, it indicates a Jack-of-all-trades and an eccen¬ 
tricity in art which renders it of little avail to the owner. 

Many little lines upon the mount point generally to an excess of 
artistic instinct, which generally falls by its own weight, and comes 
to nothing; it is much better to have only one line on the mount, 
unless all are equally clear and well traced. With two or three 
lines, a subject will often follow two or three different branches of 
art, without succeeding particularly in any one. 

If the line is confused and split up in the quadrangle, but clear 
above, we find misfortunes, having, however, good terminations. 
Any signs upon the Line of Apollo in the quadrangle must be care¬ 
fully observed, for they always denote worries, and are generally 
connected by a worry-line [428] with the Line of Life and Mount of 
Venus, showing the times at which they occurred. 

If the line is equally divided on the mount, as at Jc in Plate 
XIV., we find an equal balancing of two instincts, which ends in a 
nullity in the matter of art. Divided into a curved trident, as at l 
in Plate XV., it is a sure indication of vast unrealized desires of 
wealth ; if, however, the line divides into a pointed trident from the 
Line of Heart, as at li in Plate XVI., we can safely announce future 
glory, riches, and celebrity arising from personal merit ; and if, in¬ 
stead of being joined at the Heart, the three lines rise parallel and 



* \ 

PLATE XVII.—THE QUADRANGLE AND THE TRIANGLE. 







The Line of Apollo , or Brilliancy. 


137 


identical, as at h in Plate XII., tracing three tine troughs on the 
mount, we have these same indications intensified and made yet 
more certain. 

Cross-lines on the mount are obstacles which stand in the way of 
artistic success, very often arising from the envy and malignity of 
others. 

Cut by a line coming from the Mount of Saturn, as at a in Plate 
XVII., poverty will stand in the way of complete success. Similarly 
cut by a line coming from the Mount of Mercury, as at b in Plate 
XVII., the success and good fortune will be marred and prevented 
by inconstancy and changeableness of spirit. 

A star on the mount is a good sign, indicating success and good- 
luck, arising from the favor of others and the help of friends. 

A cross upon the mount close to the line, or even touching it, 
denotes instinct of religion and piety. 

A black spot at the junction of the Lines of Heart and of Apollo 
betrays a great danger, if not an imminent peril of blindness. 


519 . 

Cross-lines. 


520 . 

Lines from 
and $ . 


521 . 

Star. 

522 . 

Cross. 


523 . 

Spot. 


CHAPTER VII. 


The Line of Liver , or Health . 


524 . 

Position in 
the hand. 


525 

Propel* 

aspects. 


526 . 

Base of the 
line. 


527 . 

Absent. 


528 . 

Evil condi¬ 
tions of the 
line. 

Color. 


The position which the liver line [Line of Health, or hepatica ] 
occupies in the hand may be seen by looking at the Map of 
the Hand, Plate VII., but it will strike the cheirosophist, after 
very little experience, that this line fully developed in a hand is 
comparatively scarce, and the reason of this is the comparatively 
unhealthy lives which the majority of people live nowadays. 

Long, clearly traced, and well colored and proportioned, the line 
denotes good health, gayety, a clear conscience, and success in life. 
If it is lengthened up to the upper part of the palm, it is a sign that 
the good health of the subject will last well into old age. A 
thoroughly good Line of Health will counteract the evil effects of a 
poor Line of Life, being an indication of good digestion, which will 
always prove a powerful agent in prolonging life. 

The line should not be joined to that of the life at its base, but 
just separated, as at d in Plate XVII.—this will indicate long life ; 
joined at this point with the Line of Life, it is a sure indication of 
weakness of the heart. 

This line completely absent from a hand is an excellent sign, and 
will render the subject vivacious in conversation, agile and quick in 
manner. 

If the line is thick and blunt, it is a sign of sickness in old age ; 
if it is very straight and thin, it is a sign of rigidity of spirit and 
manner. Red at the upper end, it betrays a tendency to headaches ; 
thin and red in the centre, it is a sign of fever ; red at the lower end 


139 


The Line of Liver , or Health. 

is a sign ol‘ a weak heart; thus it will be seen that any unevenness 
of color in this line is bad. Very red throughout its length indi¬ 
cates brutality and pride. A twisted and wavy liver line is a sign 
of biliousness, and very often of dishonesty, of which it is, at any 
rate, a strong confirmatory indication. Much broken or cut into, 
the line will betray a weak digestion. 

Forked at the top so as to make a triangle with the Line of Head 
[as at c in Plate XVII.], it gives a great love of honors and power, 
combined always with a marvellous aptitude and capacity for 
occult sciences. 

A coming sickness marks itself on this line by a little, deep cross- 
line ; a past sickness marks only the life or head lines, leaving 
merely a gap in the Line of Health. 

The Line of Health making a good clear triangle with the Lines 
of Head and of Fortune, we find a subject very clever at natural 
magic, electro-biology, and the like, a great student of nature and 
of natural phenomena, with a high faculty of intuition, sometimes 
accompanied by second-sight. 

The line traced across the Mount of the Moon is a sure sign of 
caprice and of change in the course of the life of the subject. 

A long island at the base of the line denotes a somnambulist. 

A sister line to this liver line indicates strong and unprincipled 
avarice. 


529 . 

Forked at 
top. 


530 . 

Sicknesses. 


531 . 

Clear 

triangle. 


532 . 

Going to D. 

533 . 

Island. 

534 . 

Sister line. 


CHAPTER VIII. 


535 . 

Position. 


536 . 

Indications 
of the line. 

537 . 

Ascending 
to the 

Mount of £ . 


538 . 

Stars. 

Joined to ©. 

539 . 

Joined to $ . 


The Via Lasciva. 

This line is rare ; it is often confounded with the Line of Health, 
and is still more often regarded as a sister line, but it is quite a 
separate line of itself, appearing only conjointly with the Line of 
Head, though it diverges considerably from it, in the manner shown 
in the Map of the Hand. 

It generally betokens cunning, and often faithlessness, especially 
if twisted, though these indications are considerably modified the 
more distinct it be from the Line of Health. It gives ardor and 
fervor to the passions, and reaching up to the Mount of Mercury, 
it indicates constant good-luck arising from eloquence and pure 
talent. 

Stars on the line generally betoken riches, but often they betray 
serious troubles and struggles in front of, and accompanying them. 
Joined by a ray to the Line of Apollo, the line is a sure indica¬ 
tion of wealth. 

It used to be customary to look upon this line [as its ancient 
name denotes] as a sign of lasciviousness, but this indication only 
belongs to it if it runs across into the Mount of Venus. 


CHAPTER IX. 


The Girdle of Venus. 

This line, fortunately not universal, may be taken, as a whole, 
to be a had sign in any hand, indicating a tendency to debauchery 
which it is extremely difficult to conquer. 

To a good hand, however, this line will expend itself by giving 
energy and ardor in every undertaking entered into by the subject, 
and this favorable influence of the line is the more certain if it is 
clear, neat, and going off upon the Mount of Mercury, as at ll in 
Plate XIY. To a good hand this will give merely love of pleasure 
and energy therein. 

It generally makes a subject hysterical and nervous, with a 
great tendency towards spiritualism and sorcery, accompanied by a 
more or less chronic state of melancholy and depression. 

If the Lines of Fortune or of Apollo are cut by the Girdle of 
Venus, so as apparently to shatter them in two at this point on 
the mount, it is a sign of obstacles to success, and misfortunes, 
probably the result of excessive passion or ardor in the pursuit of 
pleasure. 

Coming up on to the Mount of Mercury, as at l in Plate XII., 
the subject will add to all the other evil indications of the line 
the vices of lying and theft. 

Cut upon the Mount of Apollo by a short, deep line [as at o in 
Plate XIII.], it is a sign of loss of fortune, caused by dissipation. 

Crossed by a quantity of little lines, it is a sure sign of a 
hysterical nature, especially if the Mount of Venus or of the 
Moon, or both, are highly developed. 


540 . 

General 

character. 


541 . 

In a good 
hand. 


542 . 

Effect of 
the line. 


543 . 

Cutting 
Fate or O. 


544 . 

On to 5 . 


545 . 

Cut upon O. 

546 . 

Hysteria. 


142 


The Complete Palmist. 


547 . 

Retrospect. 


548 . 

Chance 

lines. 


We have now considered the principal lines, and discussed 
them with considerable minuteness ; a careful retrospect will show 
the reader that the indications of the lines are easily found by 
examining their condition with reference to the mounts and the 
other lines of the palm, each mount or line having its peculiar 
significations and effects, and bringing them to bear upon the other 
mounts and lines and the qualities indicated by them, by juxta¬ 
position or connection with them by means of lines, rays, or signs. 

Often, however, we find lines in a hand which cannot be ac¬ 
counted for by any of the foregoing rules, and these [wdiich are 
called “chance lines”] are made the special subject of a future 
chapter. The signs found in the palm, though they have fre¬ 
quently been adverted to in the previous sub-section, will be our 
next consideration, with reference to their special and individual 
significations. 


SUB-SECTION V. 


{PLATE IX.) 

THE SIGNS IN THE PALM. 

Great attention must be paid to the signs which, are found very 
frequently upon, or close to, the mounts and lines of the hands, for 
they very greatly modify and alter the recognized significations of 
the mounts or lines, and generally carry with them an indication 
entirely their own. 


549 . 

Their im¬ 
portance. 


CHAPTER I. 


550 . 

Indication. 


551 . 

On U. 


552 . 

On T <>. 


553 . 

On O. 


554 . 

On 5 or 8 . 

555 . 

On D. 


The Star. 

A star [Fig. 10, Plate IX.], wherever it appears, is generally the 
indication of some event we cannot possibly control; it is generally 
a danger, and always something unavoidable. Whether, however, 
it is good or bad, depends of course upon the aspect of the lines, 
particularly of the Line of Fortune. This, however, is fixed —that a 
star, wherever it is found, always means something , and what that 
something is, be it the task of the cheirosophist to discover. 

On the Mount of Jupiter it signifies gratified ambition, good-luck, 
honor, Jove, and success. With a cross on this mount it indicates a 
happy marriage with some one of brilliant antecedents or high posi¬ 
tion. 

On the Mount of Saturn it indicates a great fatality, generally a 
very bad one, indicating, with corroborative signs, probable murder, 
and in a criminal or otherwise very bad hand, a probability of death 
upon the scaffold. 

On the Mount of Apollo, with no Line of Apollo in the hand, it 
betokens wealth without happiness, and celebrity after a hazardous 
struggle for it. With the Line of Brilliancy it denotes excessive 
celebrity, as the combined result of labor and talent; with several 
lines also on the mount, it is a sure indication of wealth. 

On the Mount of Mercury it betrays dishonesty and theft; on 
the Mount of Mars, violence leading to homicide. 

On the Mount of the Moon it indicates hypocrisy and dissimu¬ 
lation, with misfortune resulting from excess of the imagination. 


The Star . 145 

i 

The old cheiromants looked upon this as a warning of death by 
drowning, and stated that, combined with a high mount invaded by 
the Line of Head, it indicated suicide by drowning. 

On the base of the Mount of Venus it indicates a misfortune 
brought about by the influence of women. 

On the first [or outer] phalanx of any linger [but esjiecially of 
that of Saturn], a star is a sign of good fortune. On the third [or 
lowest] phalanx of the finger of Saturn, a star warns the subject of a 
danger of assassination, and if at this point it is joined by the Line 
of Saturn, a disgraceful death is almost inevitable, resulting, as a 
rule, from the vices shown elsewhere in the hand. 

On the base of the phalanx of logic of the thumb—in fact, on the 
junction of the phalanx of logic and the Mount of Venus—it points 
to a misfortune connected with a woman, probably indicating an 
unhappy marriage, which will be the curse of the subject’s whole 
existence, unless the Mount of Jupiter be developed, in which case 
there is a probability that the subject will get over it. 

A star on a voyage line [668 and 396] indicates with certainty death 
by drowning. 

If a star be found in the centre of a quadrangle, the subject, 
though true and honest as the day, will be the absolute plaything of 
woman, a trait which will result in a misfortune, from which, how¬ 
ever, he will recover in time. 

Thus it will be seen that a star is almost the most important sign 
to seek for in a hand. 


556 

On base of 
$ . 

557 . 

On the pha¬ 
langes of the 
fingers. 

On b. 


558 . 

On the 
thumb. 


559 . 

On a voyage 
line. 

560 . 

In the 
quadrangle. 


561 . 

Its impor¬ 
tance. 


CHAPTER II. 


502 . 

Effect. 


563 . 

Appearance 
and posi¬ 
tion. 


564 . 

Protection. 


565 . 

With star 
on . 

566 . 

On ? . 


567 . 

Its indica¬ 
tion. 


The Square , the Spot , and the Circle. 

The appearance of a square [Fig. 11, Plate IX.] on the hand 
always denotes power or energy of the qualities indicated by the 
mount or line on which it is found. It is a sign of good-sense, and 
of cold, unimpassioned justice. 

It may either appear as a neat, quadrangular figure, traced as if 
with a punch, or it may be formed of the [apparently] accidental 
crossing of principal and chance lines. It will often appear enclosing 
a bad sign, from the effects of which it entirely protects the subject. 

Wherever it is found, it always denotes protection ; thus round a 
break in the Line of Life [425 and 497] it betokens recovery from 
a serious illness; or on the Line of Saturn, it will protect the 
subject from the evil effects of a badly formed line, or of bad 
signs found thereon. 

A star on the Mount of Saturn surrounded by a square denotes 
an escape from assassination ; a square with red points at the cor¬ 
ners denotes a preservation from fire. 

The square has one evil signification—that is, when it is on the 
Mount of Venus, close to the Line of Life ; under these circum¬ 
stances it is a warning of imprisonment of some sort or another. 

The Spot. 

A spot [Fig. 12, Plate IX.], wherever found and of whatever 
color, always denotes a malady ; placed upon a line, it is nearly 
always the mark of a wound; on the Line of Head it denotes a blow 
to the head, and consequent folly. 


147 


The Square, The Spot, and The Circle . 

A white spot on the Line of Heart denotes a conquest in love ; a 
white spot on the Line of Head points to a scientific discovery. A 
red spot is the sign of a wound ; a black or blue spot is the sign of a 
disease, generally of a nervous character. The white spot is the only 
comparatively harmless one. 


The Circle. 

The circle [Fig 13, Plate IX.] is a comparatively rare sign, which 
has only one good signification—that is, when it appears on the 
Mount of Apollo, where it indicates glory and success. 

On the Mount of the Moon it denotes danger of death by 
drowning ; on any other mount it gives a dangerous brilliancy. 

On any line it is bad, denoting an injury to the organ or quality 
represented. Thus, on the Line of Heart it betrays weakness of the 
heart, and on the Line of Head it forewarns a subject of blindness. 


568 . 

Color. 


569 . 

Oil O. 


570 . 

Oil D. 

571 . 

On the lines. 


CHAPTER III. 


572 . 

Its distinct¬ 
ness. 


573 . 

Its indica¬ 
tions. 


574 . 

Evil indica¬ 
tions. 


575 . 

On Line of 
Heart. 

576 . 

On Line of 
Head. 


577 . 

On liver 
line. 


578 . 

On Life. 


The Island and the Triangle. 

The island [Fig. 14, Plate IX.] should perhaps more properly have 
been noticed in treating of the lines generally; but it is a sign so 
distinct from any ordinary formation of the line, that it has been 
though best to consider it in this place as a sign proper. 

An island means always one of two things ; either it is the mark 
of something disgraceful, or else it betrays an hereditary evil. It 
is the more often an hereditary malady of the line, as, for instance, 
on the Line of Head it will show an hereditary weakness of the head, 
or on the Line of Heart it betrays an hereditary heart disease, and 
so on. 

As for the disgraceful indications of the island, it should betaken 
to mean more properly that the chance , i.e ., the temptation, will 
occur ; but a long Line of Head and a strong phalanx of will on the 
thumb will always annul the most evilly disposed island. 

On the Line of Heart it means, in a good hand, heart disease, or, 
in a bad one, adultery. 

On the Line of Head, if it occur on the Plain of Mars, it shows a 
murderous tendency ; if beyond the Plain of Mars, it betrays evil 
thoughts. On a good hand it will merely indicate hereditary head 
weakness. — 

On the Line of Liver, or Health, it betrays a tendency to theft or 
dishonesty ; in a good hand, a weak digestion, or an an intestinal 
complaint. 

On the Line of Life an island indicates some mystery connected 
with the birth. 


The Island and the Triangle . 


149 


The Triangle. 


The triangle [Fig. 15, Plate IX.] always denotes aptitude for 
science, and may be formed either neatly and by itself, or by the 
[apparently] chance coincidence of three lines. 

On the Mount of Jupiter it indicates diplomatic ability. On the 
Mount of Saturn it betrays aptitude for occult sciences and necro¬ 
mancy, a sign which becomes very sinister and evil if there be also 
a star on the third phalanx of this linger. On the Mount of Apollo 
a triangle indicates science in art; on the Mount of Mercury, talent 
in politics ; on the Mount of Mars, science in war ; on the Mount of 
the Moon, wisdom in mysticism ; and on the Mount of Venus, cal¬ 
culation and interest in love. 


579 . 

Itsindica- 

tion. 


580 . 

On the 
mounts. 


CHAPTER IV. 


581 . 

Its effect. 


582 . 

On n. 


583 . 

On . 

584 . 

On O. 


585 . 

On 5 . 

586 . 

On $ . 

587 . 

On I). 


588 . 

On $ . 


The Cross and the “Croix Mystique 

The cross [Fig. 16, Plate IX.] is seldom a favorable sign, unless it 
is very clearly and well marked, when, by accentuating the qualities 
of the mount or line, it may have a good signification. It nearly 
always indicates a change of position. 

Its one undoubtedly good signification is when it appears on the 
Mount of Jupiter, when it denotes a happy marriage, especially if 
the Lines of Saturn or of Apollo start from the Mount of the Moon 
[330]. 

On the Mount of Saturn it denotes error and fanaticism in re¬ 
ligion or occnlt science, leading to the more evil forms of mysticism. 

On the Mount of Apollo it betrays errors of judgment in art, 
unless there be also a fine Line of Apollo, which will give to the cross 
the significations of wealth. 

On the Mount of Mercury it indicates dishonesty, and even 
theft. 

On the Mount of Mars it denotes danger arising from quarrel¬ 
someness and obstinacy. 

A cross on the Mount of the Moon will indicate, if it is large, a 
man who deceives even himself; but if it is small, it will merely 
indicate follies of the imagination. 

On the Mount of Venus it denotes a single and a fatal love, unless 
another cross appear on the Mount of Jupiter [330] to render the 
union happy. 


151 


The Cross and the “ Croix Mystique 

At the bottom of the hand, near the Line of Life— i.e ., in the 
lower angle of the triangle—a cross denotes a struggle, ending in a 
change of position in life, which is the more radical according as the 
cross is more or less clearly marked at this point. 


The “ Croix Mystique.” 

This sign is found traced with more or less distinctness in the 
quadrangle beneath the finger of Saturn. 

It always gives to a subject mysticism, superstition, and occult¬ 
ism, or, with a very good hand, religion. If it is very large, it 
betrays exaggerated superstition, bigotry, and hallucination. 

If it is clearly traced in both hands, it betrays folly arising from 
the excessive influence of the principal mount; thus, with Jupiter 
developed, over-ambition ; with Saturn, misanthropy ; with Apollo, 
extreme vanity or miserliness ; and with Venus, erotomania. 

If the u Croix Mystique” is joined to the Line of Saturn, it fore¬ 
tells good fortune arising from religion. 

If it is displaced, so as to lie, as it were, between the Mounts of 
Mars and of the Moon [as at^? in Plate XIII.], it indicates a change¬ 
ability of disposition which will lead to good fortune. 


589 . 

At the base 
of the hand. 


590 . 

Its position. 

591 . 

Its indica¬ 
tions. 

592 . 

In both 
hands. 


593 . 

Joined to T j . 

594 . 

Displace¬ 

ment. 


595 . 

Its indica¬ 
tions. 


596 . 

On the 
mounts. 

n. 

o. 


? . 


$ . 


j>. 

597 . 

On P with a 
lined hand. 


598 . 

On $ . 


CHAPTER Y. 

The Grille . 

The grille [Fig. 17, Plate IX.] is generally the indication of 
obstacles, and of the faults of a mount whereon it is found. But 
if there be no mount particularly elevated in the hand, it will so 
emphasize a mount, if it is found upon one, as to make it the prin¬ 
cipal mount and keynote of the interpretation of the hand. 

On the Mount of Jupiter it indicates superstition, egoism, pride, 
and the spirit of domination. 

On the Mount of Saturn it foretells misfortune and want of luck. 

On the Mount of Apollo it betrays folly and vanity, and a great 
desire of glory, joined to impotence and error. 

On the Mount of Mercury it tells of a serious tendency towards 
theft, cunning, and dishonesty. 

On the Mount of Mars it forewarns a violent death, or, at any 
rate, some great danger thereof. 

A grille on the Mount of the Moon indicates sadness, restlessness, 
discontent, and a morbid imagination. 

If on a hand which is much covered with lines [316], it shows a 
constant movement and state of excitement. If there be a star on 
the Mount of Saturn, this sign tells of the wildest exaltations, 
nervous spasms, and continual anxieties and disquietude. With a 
well-traced Line of Apollo and a grille on the Mount of the Moon we 
tind poetry, and great talent for lyrics and literature. 

The grille on the Mount of Venus is often a bad sign, denoting 
lasciviousness and morbid curiosity, especially with the Girdle of 


The Grille. 


153 


Venus traced in the hand. With a strong phalanx of will, and a 
long Line of Head, and the Line of Apollo, or Brilliancy, this sign 
merely results in a nervous excitement, which is in no way perni¬ 
cious or evil in its effects, giving a refinement and daintiness to the 
passions. 

A strong phalanx of will, with a good Line of Head and of 
Apollo, will always greatly modify the sinister effects of the grille, 
excepting when it is found on the Mounts of Jupiter or Saturn, 
when it is practically irremediable. 


599 . 

Modifying 

signs. 


CHAPTER VI. 


The Signs of the Planets. 


600 . 

Effects. 


601 . 

Combina¬ 

tions. 


602 . 

On its own 
mount. 


Besides tlie above comparatively ordinary signs, we find in some 
instances [though such instances are excessively rare] the actual sign 
of a planet actually traced on a mount. As a rule, when this occurs 
the rest of the hand is perfectly plain, the whole force of the 
character being concentrated in the quality indicated by the “ pre¬ 
cipitation” of the planetary sign. 

The sign of Mercury [ $ ] traced upon the Mount of Jupiter gives 
great administrative talent and noble eloquence. The sign of the 
Moon [ d] on the Mount of Jupiter leads to intense mysticism and 
error. The sign of Mercury on the Mount of Apollo gives great 
celebrity and eloquence in science. 

A mount sometimes also, instead of being high or rayed, has its 
own sign traced upon it; thus U on Jupiter, b on Saturn, O on 
Apollo, b on Mercury, $ on Mars, D on the Moon, and $ on Venus. 
These signs, of course, intensify the qualities of the mounts to an 
extremely marked and extraordinary extent. 


SUB-SECTION VI. 


THE SIGN'S UPON TIIE FINGERS. 


In the preceding sub-section we have dealt only with the signs 
found upon the palm of the hand. We have also to consider the 
lines and signs which find themselves traced upon the fingers, which 
signs have also their special significations. 

Lines on the first phalanx of a finger always denote a weakness 
or failing of the quality of the finger. If the lines are twisted and 
confused, they foreshadow danger to the subject from the qualities 
of the finger. A single deep ray on the first phalanx of a finger 
indicates an idealism or folly connected with the quality. 

Lines from the first into the second phalanges unite, as it were, 
the worlds of idealism and reason [41], causing the subject to mix a 
certain amount of reason with all the promptings of his imagination. 
In the same way, lines connecting the second and third phalanges 
unite reason and matter, and the subject will always set about his 
worldly affairs in a reasonable and sensible manner. 

One short line, sharply traced on each phalanx of each finger, 
is a prognostic of sudden death. 

Lines running the entire length of the fingers give energy and 
ardor to the qualities of the finger; cross lines, however, are 
obstacles in the Avay of the proper development of the charac¬ 
teristics of the linger. 


603 . 

Lines on 
the first 
phalanx. 


604 . 

Lines con¬ 
necting the 
phalanges. 


605 . 

One line on 
each pha¬ 
lanx. 

606 . 

Lines all 
along the 
fingers. 


CHAPTER I. 


607 . 

Line to 
second pha¬ 
lanx. 

608 . 

Cross lines. 


609 . 

Crosses. 

610 . 

Stars. 


611 . 

Crescent. 


Signs on the First , or Index Finger. 

A line extending from the mount, through the third phalanx 
into the second, gives a character in which reason and thought are 
mingled with audacity. 

Cross lines on the third phalanx indicate inheritances, accord¬ 
ing to the older cheirosopliists; on the second phalanx they 
denote envy and falsehood. Lines across the tips of the lingers 
denote general debility; and if they extend all the way from one 
side of the nail round the ball of the finger to the other side, they 
foreshadow wounds to the head. 

A pair of crosses on the second phalanx is a sign of the 
friendship of great men. 

A star on the first phalanx indicates great good fortune ; a 
star on the second phalanx indicates mischief and boldness, unless 
it is connected with the first phalanx by a line, in which case it 
becomes a sign of modesty. A star on the third phalanx is a sign 
of unchastity. 

A crescent upon the first phalanx is a sure sign of imprudence, 
which may bring about very grave results. 


CHAPTER IT. 


Signs on the Second, or Middle Finger. 

A line from the Mount of Saturn across the third phalanx of 
the finger indicates prosperity in arms; if it is oblique, it foretells 
death in battle. 

Many lines just penetrating into the mount denote cruelty ; if 
they go the whole length of the finger they indicate melancholy ; 
or, if they are very parallel and equal, they denote success in 
mining operations. If the lines are confined to the first phalanx, 
they denote avarice. Twisted lines on the third phalanx denote 
ill-luck. 

A triangle on the third phalanx indicates mischief and ill-luck. 

A cross in the same place indicates sterility in a female hand. 

A star on the first phalanx indicates great misfortune, and if 
it is on the side of the finger it betrays a probability of death, 
which will, however, be in a just cause. 


612 . 

Into third 
phalanx. 

613 . 

Lines. 


614 . 

Triangle. 

615 . 

Cross. 

616 . 

Star. 


CHAPTER III. 


617 . 

Lines. 


618 . 

Lines on the 
third pha¬ 
lanx. 


619 . 

From third 
into second. 


620 . 

Crescent. 


Signs on the Third , or Ring Finger. 

A single line running the entire length of the finger is a sure 
indication of great renown. Many lines are a sign of losses, prob¬ 
ably occasioned bv women. 

Straight lines on the third phalanx indicate prudence and 
happiness. Turning to one side of the finger they indicate great 
success, but not success accompanied by wealth. If the lines on 
the third phalanx penetrate on to the mount they indicate good 
fortune, accompanied by loquacity and often by arrogance. 

A line extending from the third phalanx into the second is a 
sign of goodness and cleverness, accompanied by good fortune. 
Cross lines placed upon this phalanx indicate difficulties in the way 
which will have to be surmounted. 

A crescent on the third phalanx signifies unhappiness, and a 
cross at the same place signifies extravagance. 


CHAPTER IV. 

Signs on tlie Fourth , or Little Finger. 


A line throughout the length of this huger is a signification 
of success in science, and uprightness of mind; three lines simi¬ 
larly running right down the finger are a sign of research in 
chimerical and impossible sciences. 

Deep lines on the first phalanx denote weakness of constitution; 
a cross on the same place is significant of poverty and consequent 


621 . 

Lines. 


622 . 

On the first 
phalanx. 


celibacy. 


Lines on the second phalanx are an indication of research in 
occult sciences. If they are confused and coarse, they betray un- 
chastity. 

A fine from the third into the second phalanx indicates elo¬ 
quence and consequent success. If the line is twisted, it gives 
great sharpness and cunning in defence of self. If this line start 
from the mount, it is a still surer sign of prosperity and success. 

One thick line, or a cross on a third phalanx, betrays a 
tendency to theft. A star on the same phalanx denotes elo¬ 
quence. 

A line extending from the mount into the third phalanx is 
significant of great intelligence and astuteness. 


623 . 

On the 
second pha¬ 
lanx. 

624 . 

From third 
to second 
phalanx. 


625 . 

A cross, or 
star. 


626 . 

Line to 
third pha¬ 
lanx. 


CHAPTER Y. 


627 . 

Several 

lines. 

628 . 

Cross lines. 

629 . 

From ? to 
logic. 

630 . 

Star on 
logic. 

631 . 

Ring round 
the joint. 


Signs on the Thumb. 

Signs are much rarer upon the thumb than upon lingers, but 
still they are sometimes found. 

A subject who has several lines on the phalanx of will traced 
along the entire length, will make a faithful lover, having the gift 
of constancy and fidelity. 

Cross lines upon the thumb denote riches. 

Lines extending from the mount on to the phalanx of logic, 
are a sure sign that the subject is much beloved. 

A star on the phalanx of logic in a female hand is a sign of 
great riches. 

A ring right around the joint which separates the phalanges 
of will and logic was held by the older cheiromants to be the 
sign of the scaffold. 


SUB-SECTION VII. 


THE TRIANGLE, THE QUADRANGLE, AND THE RASCETTE. 


CHAPTER I. 


The Triangle. 


The triangle [called also the Triangle of Mars, from the fact that 632. 
it is filled by the Plain of Mars] is the name given to the triangular Tu i ,0i>ltl0n 

v ° o a nd con- 

space enclosed between the Lines of Life, Head, and Health. When struction. 
[as is often the case, 524] the Line of Health is not present in a 
hand, or so very badly traced as to be almost invisible, its place must 
be supplied by an imaginary line drawn from the base of the Line of 
Life to the end of the Line of Head, or, this side of the triangle may 
be formed of the Line of Apollo. 

Though it must be considered as a whole, still each part of the 633. 

triangle has its special signification ; thus, it is composed of the ^W rapo " 

upper angle formed by the junction of the Lines of Life and Head ; 
the inner angle, formed by the junction of the Lines of Head and 
Health ; and the lower angle, formed by the junction of the Lines 
of Health and Life. [The lower angle may also be formed of the 
junction of the Lines of Health and of Fortune.] 

If the triangle is well traced and neat, being composed of good, 634. 
even lines [as in Plate XVII.], it indicates good health, good-luck, a aml 
long life, and a courageous disposition. 

If it is large, it denotes audacity, liberality of mind, generosity, 635. 
and nobleness of soul \ to have these significations it must bo well we n co i- 
and healthfully colored, not livid, nor approaching to deep red. ore(L 


636 . 

Small and 
curved. 

637 . 

Its growth. 


638 . 

Rough skin. 

639 . 

Cross in the 
centre. 


640 . 

Crescents. 


641 . 

Star. 


642 - 

Proper for¬ 
mation. 

643 . 

Bluntness. 


644 . 

Very 

pointed. 


1(32 The Complete Palmist. 

If it is small and formed of lines curving much inwards, it 
betrays pettiness, cowardice, and avarice. 

Sometimes a triangle will form itself in a hand which began by 
being absolutely without it; this is a sign that the health, originally 
bad, has improved with advancing years. 

If the skin inside the triangle is rough and hard, it is an indica¬ 
tion of hardihood and strength of nerve. 

A cross in the triangle denotes an extremely quarrelsome and 

contrary disposition. Many crosses in the triangle betoken con¬ 
tinual bad-luck. 

A crescent in the triangle, as at./’ in Plate XYIL, betrays an ex¬ 
tremely capricious disposition, often indicating brutality and a love 
of bullying. If it is joined to the Line of Head, as at g in the same 
figure, it is a prognostic of a violent death brought upon one’s self by 
an imprudence or a want of calculation. Joined, however, similarly 
to the Line of Health, as at h, it is a sign of power and of success 
accompanied by excellent health. 

A star in the triangle denotes riches, but riches obtained with 
much difficulty and worry. If the star is the termination of a worry 
line it indicates a sorrow, and if the worry line come from a star in 
the Mount of Venus, it denotes that the sorrow has resulted from 
the death of a parent or of some near relation. 

The Upper Angle. 

The upper angle [/, in Plate XVII.] should be neat, clearly traced, 
and well pointed ; it indicates refinement and delicacy of mind. 

Blunt and short, it betrays a heavy, dull intellect, and a want of 
delicacy. Very blunt— /. e., placed under the Mount of Saturn—it 
betrays a great danger of misery, and a tendency to avarice. 

The other extreme, however—Lc., very pointed—is a sign of ma¬ 
lignity, envy, and finesse. 


Th e Q uadi mi gle. 


163 


The Inner Angle. 

The inner angle \7c, in Plate XVII.], if clear and well marked, 
indicates long life and a quick intelligence. 

A ery sharp, it betrays a highly nervous temperament, and nearly 
always a mischievous disposition. 

Obtuse and confused, this angle denotes heaviness of intelligence, 
dulness of instinct, and, as a resulting consequence, obstinacy and 
inconstancy. 


The Loioer Angle. 

The lower angle \l, in Plate XVII.], well defined, and just 0 } 3 en 
[as at d\ gives strong indications of good health and a good heart. 
If it is too sharp—in fact, if it is closed up—it denotes avarice and 
debility. 

If it is heavy and coarse, composed of many rays, or of a con¬ 
fusion of lines, it betrays a bad nature, with a strong tendency to 
rudeness and laziness. 

Thus it will be seen that it is most important to observe, with 
reference to its component lines, the formation of the triangle and of 
its constituent angles. 


The Quadrangle. 

4 

The quadrangle [see Map, Plate VII.] is the square space con¬ 
tained between the Lines of Heart and of Head. It may be said to 
be bounded at its two ends by imaginary lines, drawn perpendicu¬ 
larly to the Line of Head from the crevice between the first and sec¬ 
ond fingers, and from the crevice between the third and fourth 
fingers. 


645 . 

Well 

marked. 

646 . 

Very sharp. 

647 . 

Blunt. 


648 . 

Proper for¬ 
mation. 


649 . 

Bluntness. 


650 . 

Its position 
and consti¬ 
tution. 


651 . 

Proper as¬ 
pect. 


652 . 

Narrow in 
centre. 


653 . 

Too wide. 


654 . 

Much lined. 

655 . 

Badly 

traced. 


656 . 

“ Croix 
Mystique.” 

657 . 

Star. 


658 . 

Line to $ . 


1(34 The Complete Palmist. 

It should be fairly large and wide at the two ends [but not too 
narrow in the centre], clearly distinguishable, and of a smooth sur¬ 
face comparatively free from lines ; under these aspects it indicates 
fidelity, loyalty, and an equable disposition. 

Too narrow in the centre, it betrays malignity, injustice, and de¬ 
ceit, often accompanied by avarice. If it is much wider under the 
Mount of Mercury than under that of Saturn, it betrays a degen¬ 
eration from generosity to avarice. Narrow under the Mount of 
Mercury, it denotes a more or less continual anxiety about reputa¬ 
tion. 

Too large and wide throughout its extent, it signifies impru¬ 
dence, or even folly, and this is so even when there are other signs 
denoting prudence in the hand. 

The quadrangle much filled up with little lines is a sign of a 
weak head. 

If it is so badly traced as to be almost invisible as to its boun- 
daries, it is a signification of misfortune, and of a malignant, mis¬ 
chievous character. 

It must be remembered [590] that it is in the quadrangle that we 
search for the “ Croix Mystique.” 

A well-colored and well-formed star is a great indication of truth 
and trustworthiness. Such a subject is pliable, and can easily be 
dealt with by fair means [especially by women] ; such subjects 
generally make very considerable fortunes by their own merit. 

A line from the quadrangle to the Mount of Mercury betokens 
the patronage and protection of the great. 




CHAPTER II. 


The Rascette , or the Three Bracelets. 

These are the names given to the wrist and Bracelets of Life 
[see Map, Plate VII.], the entire region being known as the rascette, 
and the lines traced across it as the Bracelets of Life. 

The Bracelets of Life are so called because each is said to be the 
indication of twenty-five to thirty years of life. A long practice has 
proved that in ninety-nine cases out of every hundred a Bracelet of 
Life gives about twenty-five to twenty-seven years of life, and even 
when the Line of Life is short a well-braceleted rascette will still 
insure a long life to the subject. 

Three lines clearly and neatly traced denote health, wealth, good- 
luck, and a tranquil life. The clearer the lines the better is the gen¬ 
eral health of the subject. 

If the first line is chained, we find a laborious life, but good 
fortune resulting therefrom. 

If the lines are altogether badly formed, it is a sign of extrava¬ 
gance. 

A cross in the centre of the rascette, as at m in Plate XII., is a 
sign of a hard life, ending with good fortune and quietude. 

An angle in the rascette, as at m in Plate XV., is a sign of 
inheritances and of honors in old age. To this will be added good 
health if a cross appear in this angle, as at i in Plate X\ 1. 

If the Bracelets of Life break into points converging towards 
the base of the Line of Saturn, it is a sign of lying and vanity. 


659 . 

The ras¬ 
cette; its 
compo¬ 
sition. 

660 . 

“ Bracelets 
of Life.” 


661 . 

Three clear 
lines. 

662 . 

Chained. 

663 . 

Badly 

formed. 

664 . 

Cross. 

665 . 

Angle and 
cross. 

666 . 

Pointing 

upwards. 


667 . 

Star. 

668 . 

Voyage 

lines. 


669 . 

Line to $ , 

670 . 

Line to ©. 

671 . 

Line to 
Health 
through 2 


166 The Complete Palmist. 

A star in the centre of the rascette will mean inheritances in a 
lucky hand, but nnchastity in a weak, sensual hand. 

Lines from the rascette extending upon the Mount of the Moon 
signify voyages. A line right up to the Mount of Jupiter will sig¬ 
nify a very long voyage indeed ; in fact, the distance of the voyages 
may be told from the length of the lines. If the lines converge 
towards the Mount of Saturn, but do not join there, it is an indica¬ 
tion that the subject will not return from the voyage. One of them, 
ending on the Line of Life, denotes probability of death upon the 
voyage. If the lines are absolutely parallel throughout their course, 
the voyages will be profitable, but dangerous. 

A line from the rascette straight up to the Mount of Mercury is a 
prognostic of sudden and unexpected wealth. 

A similar line going to the Mount of Apollo is a mark of the 
favor and protection of some great person. 

A line from the rascette near the percussion of the hand, passing 
through the Mount of the Moon to join the Line of the Liver or 
• Health, is a sign of sorrow and adversity, especially if the line be 
unequal and poorly traced. 


4 


PLATE XVIII.—CHANCE LINES. 

















SUB-SECTION VIII. 


CHANCE LINES. 


We have now arrived at a point from which, having carefully 672. 
discussed all the regular details of cheirosophy, it is necessary 
that we should turn to the consideration of certain lines which 
appear from time to time in the hand, and which, having special 
significations of their own, cannot be taken account of whilst going 
categorically through the indications of the principal lines, and of 
the various combinations of them. Their number is, of course, 
practically unlimited, for they form themselves according, to the 
characters and lives of individual subjects. The student will find 
after a time that, as the groundwork of cheiromancy impresses itself 
upon him, he will be able at once to read the indications of any line 
which may be shown to him, though he may never have seen one 
like it before. The following instances, therefore, are not given as 
being in anyway a complete list of the “chance lines,” but are 
subjoined as a kind of guide for the student, to enable him to 
decipher these “eclectic indications” whensoever and wheresoever 
he may find them. The following instances are, for the most part, 
illustrated in Plates XVIII., XIX., and XX., so that there will be 
no difficulty in remembering their exact positions. In these figures 
the principal lines are drawn , but only the chance lines are lettered 


and referred to. 

A line starting from the commencement of the Line of Life, going 673. 
to the Mount of Jupiter, and then turning on to the Mount of tQ r ° and ® # 


168 


The Complete Palmist. 


674 . 

From $ 
under Heart 
to ©. 


675 . 

From ? 
to 5. 


676 . 

Worry lines. 


677 . 

From $ 
to (5. 

Star. 


678 . 

Curved 
from § to D. 


679 . 

Chained 
Heart and 
line from 
Sto ? . 

Point. 


Saturn, as at aa in Plate XVIII., denotes a disposition to fashion¬ 
able fanaticism. If such a subject is religious at all , it will be that 
he is actuated mainly by a desire to become eminent in that par¬ 
ticular line. 

A line starting from the Mount of Mars, running under the Line 
of Heart, and turning up to the Mount of Apollo, as at bb in 
Plate XVIII., indicates a determination to attain celebrity so deeply 
rooted that the subject whose hand bears this line will attain that 
celebrity by any means. 

A line barring the whole hand from the Mount of Venus to that 
of Mercury denotes cleverness and intelligence, arising from an affair 
of the heart, or from the promptings of passion. 

We have in another place discussed worry lines [428], which 
are, after all, a species of chance line ; any worry line which starts 
from a star on the Mount of Venus denotes that some one very dearly 
beloved has died. 

Two worry lines, extending parallel from the Mount of Venus to 
that of Mars, denote the pursuit of two love affairs at the same time, 
and a star joined to these lines denotes that the pursuit has ended 
in disaster. 

A curved line, extending from the Mount of Mercury to that of 
the Moon [as at dd in Plate XVIII.] is a signification of pre¬ 
sentiments and occult powers. Such a subject, if his Line of Head 
decline upon the Mount of the Moon, will have great powers as a 
medium. 

If, with a chained Line of Heart, a line from the Mount of 
Venus touch it underneath the Mount of Mercury [as at aa in 
Plate XIX.], it is a sign that the whole life has been disturbed and 
worried by a woman [or vice versa in a female hand]. A black 
point on this line [as at b in Plate XIX.] signifies widowhood or 
widowerhood. 



PLATE XIX.—CHANCE LINES. 





















Chance Lines. 


169 


A line from the Mount of Venus cutting the Line of Apollo [as at 
cc in Plate XIX.] denotes a misfortune at the time indicated by 
the point at which the line cuts through the Line of Life. If it cut 
through in early life, the misfortune was connected with the parents 
of the subject. 

Quantities of little rays across the Line of Life into the quad¬ 
rangle [as at ee in Plate XVIII.], accompanied by short nails, are 
a certain sign of quantities of little worries, estrangements of 
friends, etc., occasioned by the spirit of argument and criticism, and 
the love of teasing which the subject has, as indicated by the 
short nails. 

A line extending from a star on the Mount of Venus to a fork 
under the finger of Saturn [as at dd in Plate XIX.] betrays an un¬ 
happy marriage. 

A line starting from the Mount of Venus, and ending in a square 
in the palm of the hand [any part], as at ff in Plate XVIII., is 
significant of a narrow escape from marriage with a scoundrel, or 
with an extremely wicked woman. 

a/ 

A long island, extending from the Mount of Venus to that of 
Saturn, with a similar island in the Line of Fortune, both at the 
points representing the same age [Plate XI. ], as at a and h in Plate 
XX., indicates seduction. 

A line going from a star on the Mount of Venus to the Plain of 
Mars, and then turning up to the Mount of Apollo, where it meets 
a single ray [as at cc in Plate XX.], foretells a great inheritance 
from the death of a near relation. 

A quantity of little lines on the percussion, at the side of the 
Mount of Mercury [as at d in Plate XX.], indicate levity and incon¬ 
stancy [361], especially if the Mounts of Venus and of the Moon are 
highly developed. 


680 . 

From ? to 
Line of G. 


681 . 

Rays across 
the Line of 
Life. 


682 . 

From ? to 

h . 


683 . 

From ? into 
palm. 


684 . 

Island from 
? to n . 


685 . 

From $ to <5 
and O. 


686 . 

Many little 
lines on the 
percussion. 


170 


The Complete Palmist. 


687 . 

Method of 
interpreta¬ 
tion. 


These few instances will be sufficient to explain the method of 
interpreting chance lines. It will be observed that they are read 
carefully with reference to the mounts and lines which they cross 
throughout their course, and according to the signs which meet and 
interrupt them. 


/ u 


PLATE XX.—CHANCE LINES. 











SUB-SECTION IX. 


A FEW ILLUSTRATIVE TYPES. 

Iy this section are described a few types of character and of 
profession ; that is-to say, the collected signs and formations which 
indicate certain conditions of mind, with the probable effects of 
those conditions upon the subject, as regards his choice of a profes¬ 
sion or his walk in life. 

For instance, take a hand which betrays a murderous or homi¬ 
cidal tendency ; in this hand you will find the general complexion 
to be very red, or very livid; if the former, the tendency to murder 
arises from fury and momentary fits of anger; if the latter, the 
whole instinct of the subject is evil. The first phalanx of the finger 
of Mercury will be heavily lined, and at the base of the Line of Life 
will [probably] be found a sister line. The Line of Head will be 
deeply traced and thick, having probably a circle upon it, and being 
generally joined to the Line of Heart, and separate from the Line of 
Life, the nails short, the Line of Life thick at the commencement, 
and spotted with red, and the Line of Head twisted across the hand. 
All these signs collected in a hand are an infallible indication of a 
murderous instinct. 

Take another example : in this hand we find the Line of Head 
twisted and very red, a grille is placed upon the Mount of Mercury, 
and the whole hand is dry and thin, having the joints developed on 
the fingers. From the third phalanx of the little finger sundry 
small lines go on to the mount, which latter is also scarred with a 


688 . 

Collective 

indications. 


689 . 

Homicide. 


690 . 

Theft. 


172 


The Complete Palmist 


691 . 

Falsehood. 


692 . 

Application 
of Chei- 
rology. 

693 . 

Sensuality. 


694 . 

The profes¬ 
sions ac¬ 
cording to 
Desbar- 
rolles. 


deep, strong ray. This is the hand of a thief, and the impulse of 
theft will be found to be almost [if not quite] insurmountable. 

Falsehood— i.e ., a general tendency to deceit—is always very 
clearly marked in the hand, and is marked by a number of different 
signs, any one of which by itself is a sufficient indication of a strong 
tendency in that direction. These are: a high Mount of the Moon, 
upon which the Line of Head is forked, and on which are found 
small red points ; the thumb is short, and on the inner surfaces of 
the phalanges of the fingers there appears a kind of hollowing out 
or sinking in of the flesh. The Line of Head is generally separated 
from that of life by a space which is filled with a number of con¬ 
fused lines. 

In conversing with a subject in whose hands you have seen all, 
or any, of these signs, bear in mind what has been said under the 
heading of Cheirology [SS. I., Chapter XI.]. 

Another very characteristic hand is the voluptuous, or pleasure- 
loving hand. The fingers are smooth and pointed, having the third 
or lower phalanges swollen ; the whole hand is plump and white, 
the palm strong, and the thumb short, giving it sensitiveness. The 
Mount of Venus is high. Such subjects are impressionable, and 
liable to fall into grave errors ; they are sensual, vain, and egoists, 
always actuated by motives of pleasure. Women who have these 
hands are always dangerous, for they are subtle and unscrupulous 
in their pursuit of enjoyment, and often exercise a most fatal in¬ 
fluence upon men into whose lives they come. 

Adrien Desbarrolles, in his later and larger work on the science, 
devotes a considerable space to the indications of various profes¬ 
sions. It would be beyond the scope of a work like the present one 
to go into the matter as fully as he does, but a short resume of his 
leading principles may not be out of place in a chapter on illustra¬ 
tive types. 


A Few Illustrative Types. 


173 


Of an artist, the sign is, of course, primarily the artistic hand, but 
our author goes further. He discusses the various modifications 
which betoken different classes of painting ; thus the flower painter 
will have the Mount of Venus high, with long fingers and a large 
thumb [color, detail, and perseverance] ; the painter of still life 
will have rather squared fingers and the Mount of Mercury [ex¬ 
actitude and science] ; the painter of battle pieces will have the 
Mount of Mars developed, indicating the natural taste of the sub¬ 
ject. He points out the fact that painters with squared fingers 
always paint what they can actually see rather than wliat they 
merely imagine. 

In a doctor’s hand we shall find the Mount of Mercury rayed, with 
the Line of Apollo clearly traced. The doctor whose hands bear the 
Mount of the Moon well developed will always be inclined to dis¬ 
coveries and eclecticism, and the doctor with hard hands and very 
much spatulated fingers will have a natural penchant for veterinary 
surgery. 

The astronomer has the Mounts of the Moon, of Mercury, and 
of Saturn well developed, with long, knotty fingers to add calcula¬ 
tion to his imagination and his science. 

The horticulturist has a hand in which we find the Mounts of 
Venus and of the Moon high, with spatulate fingers to give him 
energy, and long fingers to give him detail. 

Square fingers, with a good Line of Apollo and a good Line of 
Jupiter, denote an architect. 

Sculpture betrays itself by a scarcity of lines, the Mounts of 
Venus, of Mars, and of the Moon high in the hand, which has a 
strong tendency to thickness and hardness. 

Literary men have always the Mounts of Jupiter and of the Moon 
developed ; the latter particularly, if the taste lies in the direction 
of poetry. Literature gives, as a rule, soft spatulate or square 


695 . 

Artist’s 

hand. 


696 . 

Doctor’s 

hand. 


697 . 

Astronomy. 


698 . 

Horticul¬ 

ture. 

699 . 

Architec¬ 

ture. 

700 . 

Sculpture. 


701 . 

Literature. 







174 


The Complete Palmist. 


702 . 

Music. 


703 . 

Drama. 


hands, with the joints [especially that of matter (the second)] slightly 
developed. Literary critics have always short nails and high 
Mounts of Mercury. 

Among musicians (198 ] execution is the domain of subjects whose 
fingers are spatulate and whose Mount of Saturn is high, whose 
nails are short and whose joints are developed, with the Mount of 
the Moon prominent, long thumbs, the Line of Apollo, and [as a 
rule] the Girdle of Venus. Melody generally gives smooth fingers 
with mixed tips, the prevailing mount being that of Venus. 

The actor has fingers which are either spatulate or square, the 
Mount of Venus developed, and the Line of Head forked. The Line 
of Heart turns up slightly towards the Mount of Mercury, and, as a 
rule, a line runs from the Mount of Mars to that of Apollo. 

The above illustrative types from those given by M. Desbarrolles 
have, by repeated and careful examination, been found to be, with 
extremely few exceptions, completely correct. Their explanations 
are easily found [3], and the student will, in a very short time, be 
able, immediately on seeing a hand, to tell the subject what is his 
profession. 




SUB-SECTION X. 


MODUS OPERANDI. 

Much lias been said in works on cheiromancy on the condition 
of the subject at the time of the examination, his mental and 
physical state, and so on, but I think that all these things are, to a 
very great extent, immaterial. The only things to be borne in mind 
are that the hands should not be too hot nor too cold, and that they 
should not have just been pulled out of a tight glove, and, above all 
things, that there should be a good light. The hand should be held 
in an oblique position as regards the light, so as to throw the lines 
and formations into relief. With this object in view, also, the lin¬ 
gers should be slightly bent, so as to contract the palm and accent¬ 
uate the lines, for it must be observed that the hands fold upon 
the lines, though the lines are not formed by the folding. If it is 
quite convenient, the morning is the best time to examine a hand, 
but it is practically immaterial if the cheirosophist has had any 
experience. 

Lastly, in reading a hand, to whomsoever it belongs, you must 
never hesitate to take it in your own hands and hold it firmly. 
These short preliminaries being attended to, you will commence 
your examination. It is far better to examine the whole hand care¬ 
fully and silently till its indications are quite clear in your own 
mind, and then to speak promptly and boldly, than to decipher the 
indications slowly, one after another, reading one tentatively with a 
view to ascertaining its correctness, before going on to another. 


704 . 

Condition of 
the hands. 


705 . 

Mode of 
procedure. 


176 


The Complete Palmist. 


706 . 

Simplicity 
of the 
science. 


707 . 

• Order of the 
examina¬ 
tion. 
Cheirog- 
nomy. 


708 . 

Order of ex¬ 
amination. 
Cheiro¬ 
mancy. 


The great thing that I desire to impress upon the minds of my 
readers is the simplicity of the science. Adrien Desbarrolles, in his 
advanced work on the science, says: “That which prevents begin¬ 
ners from succeeding immediately in cheiromancy is that they find it 
too simple, and think it necessary to go beyond it to arrive at some¬ 
thing more pretentious, more confused, more difficult, and more impos¬ 
sible to understand. They do not want an easily understood science. . 
For many people, a science which is simple is not a science at all ; 
they strive and strive, racking their brains in search of a truth 
which is at their very hands, and which they can find nowhere else.” 

Having taken a hand in yours, first you must examine the Line 
of Life, to see what effects health and the great events of life 
have had upon the condition of the subject. Next look at the 
phalanx of will, and see how far it is controlled or influenced by 
the phalanx of logic. Then yon will note the tips of the fingers, 
seeing also whether they are smooth or whether they have the 
joints developed, and whether any particular phalanx or set of 
phalanges is or are longer or more fully developed than the 
others; this will tell you whether the subject is governed by in¬ 
tuition, by reason, or by material instinct. Then notice whether 
the fingers are long or short. At first you can hardly tell whether 
they are long or short, but after a little time you will be able to 
judge at once of length or shortness by comparison with the 
other hands you have seen ; the same remarks apply to the thumb. 

You have already noticed whether the hands are soft or hard ; 
now you will turn your attention to the palm, to see what mount or 
mounts govern the instincts, and how those mounts are governed in 
turn by primary or secondary lines. Then go back to the Line of 
Life, and examine the Line of Fortune, noting whether the latter 
is broken, and if so, search on the mounts for signs to teach you 
the cause and interpretation of the break. Then examine carefully 


177 


Modus Opei‘and /. 

the Lines of Head and Heart, and the secondary lines, with the 
signs which may modify their indications. Be careful not to pre¬ 
dict a future event from a sign which is evidently that of a past- 
one : a sign which, though visible, is effaced, or quasi-effaced, is 
that of a past event ; a sign which is clear and well colored is that 
of a present circumstance; and a sign which is only just visible, as 
it were, beneath the surface of the skin, is that of a future event. 

Whenever you see a star, a cross, or any other sign in an 
apparently inexplicable position, you must search the principal 
lines and the mounts for an explanation. The explanation will 
often be found in a mark on the Line of Fortune or in a worry 
line [428]. At the same time look at the Mount of Jupiter, for 
this will often, by being good, counteract the evil indications of 
a sign, and at the Mount of Mars, to see whether the subject has 
that resignation which will give him calm, and even happiness, 
through whatever circumstances may assail his life. 

When you have examined everything, strike a balance, as it 
were, noting what signs are contradicted or counteracted by others, 
and what is, in fact, the whole indication of the hand. Speak 
boldly, and never mind offending people by what you tell them ; 
what you tell them is the truth , and they need not have let you 
know it. Always warn people that what you shall tell them 
will be the actual truth, and not a string of complimentary plati¬ 
tudes ; and it is also well to ask people not to show you their 
hands if they have anything to conceal. If, after this, they still 
persist in having their hands read, say boldly whatever you see 
there, without caring about the feelings of the subject. 

To take an impression of the hand for readings by mail: Smoke 
a sheet of white paper over lighted lamp without chimney—when 
black, press right hand firmly on smoked side to insure impression 

of the palm—wet back of paper with alcohol to set the carbon. 

12 


Past, pres¬ 
ent, and 
future. 


709 . 

Uncommon 

signs. 


710 . 

Exposition 
of the indi¬ 
cations. 


711 . 

How to 
take an im¬ 
pression of 
the hand. 


Unbei of Xeabino Unbications. 



INDEX OF LEADING INDICATIONS 


The numbers refer to the paragraphs. 


A. 

Abstraction. 150. 

Acrobats, 234. 

Action, 51, 131. 
Administrative talent, 14, 28, 
148, 237, G01. 

Adultery, 575. 

Adventurous, 128. 

^Esthetic, Gl. 

Affectation, 35. 

Affection, 106, 446. 
After-dinner speakers, 136. 
Age, 420. 499. 

Aggressiveness, 344. 
Ambition, 117, 118, 433, 477. 
Analysis, 16. 

Ancien Noblesse, 173. 

Angles, 633. 

Apathy, 241. 

Apollo, Mt. of, 345 ; Artistic 
instinct, 345 ; Boastful, 
349 ; Discoverers, 346; Fail¬ 
ure, 351; Fortune, 345 ; Ma¬ 
terialism, 350. 

Apoplexy, 460. 

Architect, 699. 

Argument, 484. 
Arithmeticians, 170. 

Artist, 32, 223, 695. 

Artistic tendency, 18, 24, 58, 
128, 133, 189, 190, 241, 516. 
Asceticism, 336. 
Assassination, 557. 
Astronomy, 697. 

Astuteness, 626. 

Athletics, 100. 

Avarice, 47, 451, 470. 

B. 

Bad end, 512. 

Barristers, 356. 


Beautiful, 186. 

Beloved, 629. 

Bigotry, 243, 591. 

Biliousness, 383. 

Blindness, 523, 571. 
Bohemianism, 186. 

Boldness, 36. 

Brutality, 8, 528. 

Builders, 38. 

Bullying, 640. 

Business capacity, 53. 

C. 

Callousness, 123. 

Capillaries, 322. 

Caprice, 532. 

Carelessness, 439, 477. 
Caution, 475. 

Celebrity, 437, 622, 674. 
Charlatanry, 324. 

Chastity, 408. 

Children, No. of, 364. 
Clairvoyance, 357. 

Classical scholarship, 333. 
Cleverness, 619, 675. 
Colonists, 169. 

Commercial talent, 182, 140, 
495. 

Common-sense, strong, 83. 
Communists, 172. 
Comprehension of detail, 37. 
Conical, 50, 58. 

Conjugal infidelity, 508. 
Conjugal misery, 503. 
Constancy, 189, 473. 

Coolness, 473. 

Cowardice, 35, 72, 636. 
Criticism, 148. 

Cruelty. 44, 70, 613. 

Cunning, 135, 139, 313, 536. 
Curiosity, 46. 


D. 

Dancers, 234. 

Danger, 462. 

Deafness, 487. 

Death, 365, 420, 424, 431, 452, 
462, 467, 471, 474, 480, 540, 
559, 570, 605, 612, 640. 
Debility, 608, 648. 

Deceit, 35, 652. 

Delicacy of mind, 107, 150, 
642. 

Designers, 38. 

Desire of life, 441. 

Dictator, 193. 

Dignity, 143. 

Diplomacy, 245, 580. 
Disciplinarian, 192. 
Discontent, 233. 

Dishonesty, 36, 485, 554, 577, 
585. 

Dissatisfaction, 316. 
Dissimulation, 555. 
Distrustful, 32. 

Doctors, 334, 696. 

Domestic troubles, 477. 
Drowning, 400. 

Dull intellect, 643, 647. 

E. 

Early rising, 100. 

Eclecticism, 215, 672. 
Effeminacy, 76. 

Egoism, 17, 116, 168, 382, 481, 
596. 

Egyptian papyri, 38. 
Eloquence, 624. 

Enthusiasm, 458. 

Envy, 608. 

Epilepsy, 482. 






182 


Index. 


Error, 121. 

Evenly balanced mind, 8. 
Excitement, 180, 597. 
Extravagance, 91, 020, 603. 

F. 

Failure, 9, 351. 

Faithful lover, 027. 

False conceptions, 20. 
Falsehood, 008, 097. 
Fanaticism, 225, 332, 457, 583, 
073. 

Fancy, 18. 

Fatalist, 328. 

Fault-finding. 178. 

Feebleness, 7, 318, 4G7. 
Ferocity, 152. 

Fidelity, 051. 

Fingers, 12, 18, 19, 21, 22, 2G, 
28, 29, 52. 

First impressions, 18. 

Flattery, 324. 

Flirt, 449. 

Foolhardiness, 439. 
Foolishness, 94. 

Free thought, 332. 

Friendship of great men, 009. 
Frivolity, 129. 

G. 

Gallantry, 402. 

Gambler, 128. 

Generosity, 187, 035. 
Goodness, 489, 019. 

Good digestion, 525. 

Good fortune, 112, 334, 483, 
501, 593, 010, 004. 

Good health, 418, 525, G34, 
048. 

Good-luck, 319, 457, 493, 537, 
551, 557, 634. 

Good-sense, 137, 200, 400, 562. 
Good talker, 200. 

Gout, 393. 

Grave, 309. 

IT. 

Hands, 40, 45, 70, 71, 72, 73, 
74, 75, 90, 99, 101, 102, 103, 
105, 100, 107, 109, 110, 184, 
249. 


Handsome, 324. 

Handwriting, 39. 

Happiness, 368, 618. 
Hardship, 108, 638, 664. 
Haughty, 309. 

Headache, 482, 028. 

Health, 7G1. 

Heart disease, 520, 571, 575. 
Heraldry, 237. 

Hereditary madness, 478. 
Hindoos, 105. 

Honor, 155, 005. 

Hopeless passion, 508. 
Horticulture, 098. 
Hypochondria, 31G. 
Hypocrisy, 244, 451, 484. 
Hysteria, 343, 397, 542. 

I. 

Idealism, 220, 221, 478, 603. 
Ideality, 209, 210. 

Idleness, 326. 

Illegitimacy, 508. 

Ill-health, 419, 501. 

Ill-luck, 9, 321, 499, 613, 614. 
Illness, 422, 425, 485. 
111-success, 322. 
Imprisonment, 497, 506. 
Imprudence, 487, 553. 
Impulse, 18, 84, 110. 
Inconstancy, 70, 393, 400, 502, 
520, 047, 686. 

Indigestion, 493. 

Infamy, 155. 

Infidelity, 467. 

Inheritance, 224, 685. 
Innocence, 843. 

Inquiry, 16. 

Inquisitiveness, 31, 47. 
Intelligence, 14, 01. 

Intuition, 41. 

Inventors, 19, 181. 

Irony, 148. 

Irresolution, 98. 

Irritating subject, 110. 

J. 

Jack-of-all-trades, 237, 515. 
Jealous, 448. 

Joints, 13, 14, 15, 16, 17, 25, 
31, 42. 


Journalist, 149. 

Jupiter, Mount of, 300, 324 ; 
Charlatanry, 334 ; Doctors, 
334 ; Handsome, 324 ; Mar¬ 
riage, 324 ; with other 
mounts, 334. 

Justice, 203. 

K. 

Knowledge, Search after, 135. 

L. 

Laborious life, 602. 

Laplanders, 150. 

Large-thumbed subject, 95. 

Lasciviousness, 539. 

Laziness, 86, 142, 649. 

Levity, 686. 

Liar, 587. 

Liberality, 141. 

Libertine, 410 

Life, 440, 526, 502, 645. 

Lines, 14, 21, 34, 299, 300, 
305, 319, 321, 418, 419, 421, 
422, 424, 425, 426, 428, 429. 

Literary critics, 410, 701. 

Liver complaint, 450. 

Logic, 77, 79, 137, 344 

Losses, 507, 597. 

Love, 106, 411, 460, 505, 677. 

Luxury, 41, 327. 

Lying, 60, 660. 

M. 

Malignity, 644. 

Marriage, 135, 330, 347, 373, 
413, 683 ; Happy, 330, 494, 
551, 582 ; Unhappy, 428, 
402, 558, 082. 

Mars, Mount of, 293, 334, 370; 
Capacity for keeping tem¬ 
per, 372 ; Cowardliness, 378; 
Cruelty and violence, 375 ; 
Feeble Line of Heart, 377; 
Hot-blooded, 372 ; Lines on 
mount, 375 ; Love of war, 
376 ; Marriage, 373 ; Plain 
of Mars, 370 ; Sensual, 
372 with Apollo, 380; with 
Mount of Moon, 380. 




Index. 


183 


Materialism, 41, 350. 

Maternity, Dangers of, 4G3. 

Mathematics, 120. 

Meanness, 409. 

Mechanics, Talent for, 138. 

Meddlesomeness, 140. 

Medium, 078. 

Melancholy, 75, 309. 

Melody, 702. 

Mental agitation, 31G. 

Merchants, 17, 237. 

Mercury, Mount of, 300, 324, 
355 ; Athlete, good, 357 ; 
Barristers, good, 350; Char¬ 
latan, 300; Children, Num¬ 
ber of,304; Clairvoyant,357; 
Commerce, 307 ; Contra¬ 
diction, 309 ; Good fortune, 
302 ; Happiness, 308 ; Hy¬ 
pochondria-, 303 ; Liaison , 
304 ; Mathematics, 358 ; 
with Apollo, 300 ; with Sat¬ 
urn, 309 ; with Venus, 308. 

Minutiae, Instinct for, 30. 

Mischief, 30, 010, 655. 

Misery, 9, 490. 

Misfortune, 9, 590, 01G, 080. 

Mocking disposition, 44. 

Moderation, 199. 

Modesty, 010. 

Moon, Mount of, 334, 381 ; 
Angle on, 400 ; Boundaries, 
392 ; Clairvoyance, 390 ; 
Crescent in woman, 400 ; 
Croix mystique, 390 ; Cross 
barred, 399 ; Drowning, 
400 ; Gout, 393 ; Idleness, 
391 ; with other mounts, 
401. 

Moral force, 59. 

Morbidness, 122. 

Moslem tribes, 221. 

Mount, crosswise lines on, 
299; Development of, 293 ; 
Displacement of, 302 ; Pre¬ 
vailing, 323 ; Two lines on, 
298. 

Murder, 488, 576. 

Murderers, 89. 

Murderous tendency, 465, 
689. 


Musicians, 16, 57, 168, 198. 
Mystery of birth, 443, 578. 

N. 

Nails, 681, 689. 
Narrow-mindedness, 7. 
Nerves, 228. 

Nervous temperament, 101, 
150, 316, 476, 598, 646. 
Nobleness, 635. 

North American, 176. 

O . 

Observant, 31. 

Obstinacy, 88, 580. 

Occultism, 120, 205, 401, 529. 
Old age, 525. 

Orators, 131. 

Orderliness, 14, 10, 17, 171, 
196. 

Organic affection, 310. 
Orientals, 220. 

Ostentatious, 325. 

P. 

Pain. 497. 

Palm, 3, 7, 8, 9, 10. 
Paradoxiealism, 14. 

Passion, 187. 

Perseverance, 177, 192. 
Personal merit, 494, 518. 
Phalanges, 41. 

Philosophy, 53, 135, 213. 
Physical attributes, 6. 
Pleasure, Pursuit of, 325, 543, 
093. 

Poetry, 10, 98, 478, 484, 701. 
Political freedom, 180. 
Politics, 53, 180, 580. 
Positivism, 130. 

Poverty, 427, 520. 

Practical, 52, 240. 
Presentiments, 078. 
Presumption, 08. 

Pride, 110. 

Promptness, 143. 

Prophecy, Gift of, 222. 
Prosperity in arms, 012. 

Public entertainers, 324. 
Pugnacity, 30. 

Punctuality, 1G, 197. 


Q. 

Quarrelsome disposition, 039. 

Quickness, 27, 308. 

It. 

Reason, 14, 15, 10, 29, 41, 80, 
180, 212, 217, 469. 

Reflection, 16. 

Religion, 61, 118, 119, 230, 
522. 

Republican, 113. 

Resolution, 176. 

Restlessness, G8, 596. 

Riches, 134, 457, 513, 538, 629, 
030, 641. 

Romaneists, 225. 

Roue, 450. 

Rudeness, 649. 

S. 

Sadness, 126, 336. 

Sanguine, 307. 

Saturn, Mount of, 300, 328, 
335, 337 ; Aggress?vness, 
344; Asceticism, 330; Bony 
fingers, 337 ; Cross on, 330; 
Happy, 343; Hysteria, 343; 
Immodesty, 344 ; Individu- 
ualizing, 343 ; Logic, 344 ; 
Marriage, 330 ; Remorse, 
330 ; Single straight line, 
339 ; Spot, 340 ; Worry, 
341 ; with other mounts, 
343, 344. 

Sceptics, 212. 

Science, 10, 98, 139, 140. 

Sculpture, 700, 

Second-sight, 531. 

Secretiveness, 141. 

Sedentary, 182. 

Seduction, 084. 

Self-centred, 335. 

Self-control, 468. 

Self-reliance; 97, 160, 477. 

Selfishness, 8, 73, 242. 

Sensitive, 49, 490. 

Sensual, 8, 21, 41, 116, 209, 
210, 372. 

Sentiment, 18. 











184 


Judex . 


Short life, 452. 

Sickness, 530. 

Signs, Corroboration of, 314. 
Singers, 57. 

Skin, 337. 

Social freedom, 214. 

Soldiers, 444. 

Somnambulist, 533. 

Sophist, 484. 

Sorrow, 497, 641, 671. 

Soul, 15, 224. 

Spiritualist, 226. 

Spots, 310, 353, 331. 

Sterility, 364, 442, 458, 615. 
Strength of will, 466, 471, 589. 
Stubbornness, 45. 

Success, 328, 329, 479, 505, 
509, 569, 618. 

Sudden death, 424, 431, 452, 
462, 471, 605. 

Sudden heroism, 82. 

Sudden wealth, 669. 

Suicide, 126. 

Superstition, 126, 591, 596. 
Suspicious, 142. 

Symmetry, 16. 

Sympathy, 228. 

Synthesis, 28, 37. 

T. 

Tact, Want of, 477. 

Tassel, 318. 

Taste, 21. 

Tenderness, 402. 

Thief, 625, 690. 


Thumb, 11, 60, 69, 71, 77, 
105, 160, 167 
Tidiness, 54. 

Timidity, 475. 

Toothache, 487. 

Tranquil life, 661. 

Treachery, 152, 455. 

Truth, 120, 211, 212, 657. 
Tyrants, 89. 

U. 

Uncertainty, 167. 

Unchastity, 329, 610, 623. 
Ungovernable passion, 89. 
Unintelligence, 109. 
Unreasonableness, 88, 454. 
Unremitting labor, 453.. 
Unsuccessful, 459. 
Uprightness, 110, 621. 

Useful, 192. 

Uselessness, 464. 

Utopian ideas, 220. 

V. 

Vanity, 143, 493, 666. 

Venus, Mount of, 300, 334, 
402 ; Absence of mount, 
407; Asthma, 416; Beauty, 
Feminine form of, 402 ; 
Gallantry, 402; Good for¬ 
tune, 411; Happiness, 415; 
Liberality, 415 ; Libertine, 
410: Love, 411; Marriage, 
413; Tenderness, 402. 


Versatility, 464. 

Violent death, 434, 496 (see 
Death). 

Virago, 147. 

Vivacity, 527. 

Voyages, 668. 

W. 

Want of logic, 84. 

Want of principle, 144. 

Weak constitution, 622. 

Weak digestion, 528. 

Weak head, 654. 

Weak heart, 472. 

Weak intellect, 64, 480. 

Wealth, 130, 441, 509, 511, 
553. 

Well-regulated mind, 14, 16, 

201 . 

Widowhood, 679. 

Will, 77, 79. 

Woman, 679, 693 ; Affection¬ 
ate, 258 ; Coquettish, 253; 
Curious, 257; English, 256; 
Fussy, 259; Haters, 455; 
Idealistic, 263; Influence of, 
556; Knotty fingers in, 250, 
251,260; Love, 252; Pleasure 
loving, 255 ; Punctuality, 
259; Sagacity, 252; Tyran¬ 
nical, 260; Vivacious, 261. 

Worry, 33, 399, 428, 517, 676. 

Wounds, 300, 436, 460, 580, 
486, 487, 491, 567, 568, 608. 


























































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